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READ  THE  BEST-STREET  &  SMITHS  MAGAZINES 


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Heartbreaks 

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OIXYWOOD 


Time 
savers 


THE  great  American  instinct  is  to  save  time — a  lot  of 
time — and  then  some  more  time.  In  the  big  affairs  and 
the  little  things  of  life,  time  is  the  most  valuable  thing 
at  our  command. 

Limited  trains,  automatic  telephones,  sixty-miles-an- 
hour  automobiles,  airplanes  still  faster — we  have  these 
things  in  answer  to  our  demand  for  speed.  And  an 
equally  important  time  saver  in  the  lives  of  people  today 
is  advertising.  Just  as  surely  as  any  other  modern  ser- 
vice, the  advertisements  bridge  hours  and  days  for 
people  who  have  wants  to  be  filled. 

Readers  of  advertisements  are  the  same  people  who 
demand  the  utmost  efficiency  in  communication,  in 
business,  in  their  daily  life.  They  know  that  a  few 
minutes'  reading  of  the  advertisements  will  tell  them 
more  about  products,  values  and  the  intelligent  spend- 
ing of  their  money  than  they  could  discover  in  clays 
by  any  other  method. 

And  like  the  other  great  time  savers,  advertisements 
save  money  and  energy,  as  well.  The  reading  of  them 
i*  a  genuine  human  economy. 


The  screen's  most 
lovable  bandit 
continues  his 
adventures 

IN  OLD         J 
ARIZONA 
IN   /  THIS 
GREAT 
V     OUTDOOR 
MOVIETONE 
ROMANCE 


THE  ARIZONA  KlD,//, 

Warner  Baxter 

A»ii>  Mona  Maris 


Greater  than  "In  Old  Arizona"  and 
"Romance  of  the  Rio  Grande"  —  two 
pictures  that  established  Warner  Baxter 
as  the  supreme  lover  in  outdoor  roles. 

An  ALFRED  SANTELL  production 


^^i!!lliilllilii.illllllllllllllllllii!'ll!llllllllhllll:lillllllllll!llllllllllllllllilllilllllllllllH 


Picture  Play 

YEARLY  SUBSCRIPTION,  $2.50  SINGLE  COPIES,  25  CENTS 

\oiumc- xxxii  Contents  for  July,  1930  Numbers 

The  entire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 

What  The  Fans  Think 8 

Our    famous    open    forum. 

Shore  Leave  .         .         .         .         .         .         ...         .         .         .         .15 

What  happens  to  Clara  Bow  and  Fredric  March,  in  "True  to  the  Navy." 

The  Heartbreak  Behind  The  Smile    .         .         .     Edwin  Schallert     .         .     16 

Former  stars  who  watch  and  wait  for  a  chance  to  come  back. 

I  Stop  To  Look  Back Neil  Hamilton        .         .     20 

The  second  installment  of  an  inimitable  autobiography. 

There,  There,  Don't  Cry .         .         .23 

Pictures  of  easy  tears. 

How  To  Live  On  Nothing  In  Hollywood  .         .     Carroll  Graham      .         .     24 

The  subtleties  of  being  an  uninvited  couch  guest. 

Page  Helen  Morgan!  .         .         .         .         .         ...         .         .         .         .26 

Perhaps  she  will  put  a  stop  to  imitators. 

Such  Men  Get  There William  H.  McKegg     .     27 

An  explanation  of  Robert  Montgomery's  success. 

If  At  First 29 

Pictures  of  Eddie  Nugent  in  the  act  of  living  up  to  his  motto. 

Over  The  Teacups  .         .         .         .         .     The  Bystander       .         .     30 

Fanny  the  Fan  stirs  her  brew. 

The  Delaware  Delilah Malcolm  H.  Oettinger  .     34 

She's    Estelle    Taylor,    of    course. 

Favorites  of  the  Fans  .         .         .         .         .         ...         .         .         .         .35 

Full-page   portraits   of   eight   in   rotogravure. 

Random  Notes  On  Billy Samuel  Richard  Mook  .     43 

A  favorite    interviewer's   impressions   of   William   Haines. 

The  Mystery  Of  Your  Name       ....     Monica  Andrea  Shenston  44 

The  science  of  numbers  is  put  to  the  test. 

Sweet  And  Simple 46 

Pictures  of  beauties  in  summer  frocks. 

The  Ghost  at  the  Banquet Mignon  Rittenhouse      .     48 

Fear  of  Hollywood's  blacklist  causes  many  a  banquet  to  lose  its  savor. 

The  Stroller Neville  Reay  ...     50 

Ironic    observations    of    the    film    town. 

Marked  Men 52 

The  embarrassment  of  telltale  signs. 

In  The  Springtime William  H.  McKegg      .     53 

All  about  Yola  d'Avril. 

Continued    on    the    Second    Page    Following 

Btreal    A    smith   Publication),   Inc.,   79-88   Seventh    Avenue,    New   York   City.     Ormon.l   O.    smith.   President;  George  C. 

smiti.  '      rge  C    Smith,  .ir.,   Vice  President:  Ormond  V.  Gould,   m tary.     Copyright,   1830,         -  8   Smith  Pub- 

.'.    Y..rk.     Copyrlghl  Streel    .\    smith   Publications,    In    .    Qreal     Britain,      Entered  Matter,    March    6, 

1816,  at  the  Post  Offlvc  at  New  York,   .\.   v..   under  Ad  of  Congress  of  March  S,   1878.     Canadian  SubscrlpUon.  S2.8G.     Foreign,  $3.22. 
We   do   not    hold    ourselves   responsible    fur   the    return    of    unsolicited    manuscripts. 
AM    manuscripts    must    be    addressed    to    the     Editors,    care    of 

STREET   &   SMITH   PUBLICATIONS,   INC.,   79  7th  AVE.,  NEW  YORK,  N.  Y. 


© 


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□ 


**  Kwp  in  touch  with  your 
firrorite  *tar*  And  fortbcoruin- 
Paramount  Picture*  by  listening 
to  the  Paramount -Publix  Radio 
Hour,  each  Saturday  Evening 
10—11  P.M.  Eastern  D*?l.J.t 
Saving  Tuae  over  the  Columbia 


TVBIB'S    A  I.  W  A  Y  S     F  A  I  II     W  E  A  T  II  E  II    and 

GREAT  ENTERTAINMENT 

AT      THEATRES      WHICH      SHOW 

P  A  It  A  M  O  U  X  T        r  I   (    T  I     II   i:  S 


<j  No  more  delightful  way  to  spend  a  summer  afternoon 
or  evening  than  at  the  theatre  nearest  you  that  plays 
Paramount  Pictures.  You'll  always  find  it  cool  and  com- 
fortable inside  and  you'll  always  find  a  great  show  —  some  of 
the  best  Paramount  Pictures  ever  arc  being  released  now 
and  right  through  the  summer.  A  partial  li*t  i^  at  the  right.  The 
titles  cover  everything  you  need  to  kno.\  about  them  because 
they're  all  Paramount.  Winter  time,  summer  time,  any  time  — 


Paramount  Picture 

it'-  the 
best  shoic  in  toxrn!" 


'W  Till  BYRD  at  ih. 
SOUTH  POLE*1 

•  •   • 
NANCY  CARKOEE  iu 

"THE  DEMI  .S IIOLII)  11 

•  •    • 
CLARA  HOW   in 

"TRUE  TO  THE   WAVY" 

•  •   • 

I  \<  K   OAKIE  in 
I  III    SOU  M.  I  ION"  and 
"THE  SAP  FROM 
SYRA4  (  -I  - 

•  •   • 
WILLI  \M    PO!  I  1.1.  in 

"Ml  \IM>\\   Ml     I  III    |    \\\ 

•  •    • 

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(.1  0RC1    B  \m  ROFT  in 
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Pewter  And  Old  Lace  . 


Contents — Continued 


Describing   the   stars'   heirlooms,   inherited   and   acquired. 


.     Myrtle  Gebhart     .         .     54 


Hollywood  High  Lights 

News   and   gossip   of   the    movie   citadel. 


The  Movie  Racket        .         .         .  .         .     Inez  Sabastian 

Another  installment  of  a  serial  you  won't  soon  forget. 


Edwin  &  Elza  Schallert     58 

.     62 


The  Stars  Hit  Back 


.     Samuel  Richard  Mook  .     64 


They  tell  what  really  happened  at  some  famous  interviews. 

Time,  The  Comedian 

You  will  smile  at  costumes  worn  in  "The  Florodora  Girl." 

A  Confidential  Guide  To  Current  Releases         .     . 

Timely   tips   on  pictures  now   showing. 

The  Screen  In  Review         .... 

Our  indefatigable  critic  gives  his  opinion. 

Janet — As  She  Is 

An    illuminating    examination    of    Miss    Gaynor. 

As  They  See  Themselves     .....     Myrtle  Gebhart 

What   players   learn   from   watching   their   shadows   on   the   screen. 

Beatrice  Fairfax,  Please  Help!    .         .         .         .     H.  A.  Woodmansee 

The  lovelorn  in  Hollywood  have  peculiar   troubles. 


Norbert  Lusk 
Margaret  Reid 


Information,  Please      .... 

Authoritative  answers  to  readers'  questions. 


.  The  Oracle  . 


68 
69 

70 
74 
83 
88 
102 


Can  One  Break  Into  Talkies? 


IT'S  the  one  question  asked  PICTURE  PLAY  so  often,  that  we 
determined  to  give  our  readers  an  authoritative  answer  based  on 
the  actual  experience  of  one  who  attempted  it.  Thus  you  will  find 
next  month  the  report  of  Mignon  Rittenhouse,  who  not  only  suc- 
ceeded in  working  at  Paramount's  New  York  studio,  but  interviewed 
casting  directors,  extra  girls  and  others  vitally  interested  in  the  busi- 
ness of  making  talkies. 

Miss  Rittenhouse  learned  that  talkies  have  closed  down  the  old- 
est, most  familiar  entrance  into  the  movies  and  opened  up  new  ones. 
That  there  actually  is  a  chance  for  the  outsider,  but  that  in  obtain- 
ing that  chance  he  must  pursue  an  entirely  different  course  than  in 
the  days  of  silent  pictures.  It  is  a  surprising  story  that  Miss  Ritten- 
house tells,  and  it  is  one  replete  with  human  interest  as  well  as 
sound  information.  Make  a  note  to  order  PICTURE  PLAY  for 
August  and  run  no  slightest  chance  of  missing  it. 

Not  Heroes  To  Their  Tailor 

WHAT  happens  when  your  favorite  male  star  decides  to  replenish 
his  wardrobe?  Certainly  our  darlings  of  Hollywood  don't  open 
the  mail-order  catalogue  and  check  off  the  "nobby"  suit  they  decide  to 
buy.  Far  from  it.  Clothes  are  too  important  an  item  in  their  pro- 
fessional personal  lives  to  leave  any  detail  of  them  to  chance.  So 
they  go  to  a  tailor  who  is  popular  with  the  majority.  But  if  you 
think  their  calls  are  confined  to  one  or  two  visits,  you  are  very,  very 
much  mistaken.  Or  if  you  think  that  their  likeness  to  Apollos  on 
the  screen  makes  the  fitting  of  their  clothing  an  easy  task,  you  are 
mistaken. 

It's  a  long  story,  this  intimate  revelation  of  tweeds  and  twills 
and  the  gentlemen  who  wear  them.  Just  the  sort  of  story  you 
would  expect  of  Samuel  Richard  Mook,  in  fact.  And  he  has  gone 
after  it  with  his  accustomed  zest.  So  much  so,  indeed,  that  he  suc- 
ceeds in  telling  you  what  you  never  knew  of  certain  stars,  and  what 
is  revealed  by  their  taste  in  clothes,  as  well  as  their  conduct  when 
off  duty  in  a  place  no  writer  has  ever  invaded  before. 

In  this  unusual  story  there  is  still  another  proof  that  PICTURE 
PLAY  yields  to  no  summer  doldrums,  but  is  the  best  magazine  of  the 
screen  in  every  season. 


Illlllllllliliilllllilllllllllllllllllllllllllllllllllllllllllllllllllllllllllllll1 


Ower 

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Evolution   of    Sei 

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One  of   Cleopatra's    Night* 

French      Prostitute's 

fire.       Maupassant 
Lore   Rights   of  Women 
Vampire.      Kipling 
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A    Night    Flirtation 
Tiles    of    Pi.-- 
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Tales     of     Lore     and     Life. 

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Daughter  of  Kve 
Her  Burning    - 
Follies    of   Lovers 
Art  of  Kissing 
A    Mad    Sweetheart 
Common   Sense   of    Sei 
Infatuation.     Ben  Hecht 
A    Mad    Lore 
What    Price    Love! 
First    Love.    etc. 
Forbidden   Love 
How  to  Write  Love  Letters 
Psychology   of   Love  and  Hate 
•:es    About    Lovers 


Murder 


38  Dr.  JekyU  and  Mr.  Hyde 
68  Crimes  of  toe  Borgiis 
149  Crimes    and    Criminals 
14!  Murders   in  Rue  Morgue 
558  Great    Pirates 
819  Strange    Murders 
1*42  Crime    at    Red    Inn.     Balzac 
1084  My   Favorite    Murder 

Adventure 

SI  Loves  of  Carmen     Merimee 
S3  Great    Sea    Stories 

.  '{   the   Wolf.      London 
288  Tales  of  Far  North.     London 
48S  5  Weeks   In  Balloon.      Verne 
485  Voyage  to  the  Moon 
516  Real    Adventures 
558  Robinson    Crusoe 
778  Adventures    of    Kit    Carson 
795  Gunga   Din     Kipling 

)en    Bacillus,    etr.      Wells 
•39  Poe's    Tales   of    Science 
944  Masterpieces    of   Adventure 
Tleatal    Tales    of    Passion 
'••iert   Tales   of   Pa 
954  Italian    Tales    of    Love 
1891  Italian   Bandit   Tiles 
1148  Adventure    Stories.     London 

Better  English 


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Sex  Hygiene 

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What       Expectant       Mothers 
Should   Know 

What  Women  Past  40  Should 
Know.       Fielding 

What  Boys  Should  Know 

What     Young     Men     Should 
Know.       Fielding 

What    Young    Women   Should 
Know.      Fielding 

Harried    Men    Should 
Know.      Fielding 

What         Married         Women 
Should   Know.     Fielding 

Woman's    Sexual    Life 

Mans    Sexual    Life 
Sexual    Life 

Homosexual    Life 

Modern  Sex   Morality 

Venereal     Diseases 

Sex    In    Psycho- Analysis 

Freud  on  Sexual  Dreams 

Womanhood  Facts 

All    About    Syphilis 

Sex    Symbolism 

Sei   Determination 

Judge    Lindsey    on    Compan- 
ionate Marriage 


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654 


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Women 

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Eugenics    Explained 

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Nature  of   Iireams 

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Memoirs    of    Mme.    de    Stael 
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Rudyard    Kipling 
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Evolution    of    Marriage 
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Confidential  Chats   with  Hus- 

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Hek-lnnlng  Married  Life 
Bight 

Why  I  Believe  In  Compan- 
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Ghosts 


II  u*e   and  Brain 
ias     Carol 
Stasia 
Clarlmondo:     Ghost    Lover 
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Supernatural  Tales 
Tales   of   Ghouls    and   Ghosts 
Witchcraft        M 

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Moguls   of  Movlrland 

.  old   Know 

Bow    G 

allly 
P  Pi  •      -'ted     by 

Kv.-relso 

rwelght 

Causes  •  War 

rallty 
Trial    by    Jury 

Go   Wrong 

I 

.   nrad 

and      Song. 

Ran    In    D 

I 

Agnostic. 

si 
laeCabl 


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PQ^  PUBLICATIONS 

DEPT.  A-131  GIHAKD.   KANSAS 


What  Tke  Fans  Think 


The   Public   Boop-a-doop. 

IF  Samuel  Richard  Mook,  who  wrote  "Bread-and- 
butter  Babies  Looking  for  Cake"  in  April  Picture 
Play,  is  a  prophet,  then  Heaven  help  the  fans,  for 
it  looks  like  a  long  season  of  boop-a-doop  shows  and 
back-stage  revues.  A  little  vaudeville  goes  a  long  way, 
and  when  one  has  to  sit  through  a  wretched  hour  of 
talking  vaudeville  acts  in  hopeful  anticipation  of  the 
feature  to  come,  and  then  to  find  just  another  of  the 
wisecracking  bread-and-butter  babies  of  the  Broadway 
hooter  type  in  a  rehashed  stage  play,  it  is  no  wonder 
that  we  doubt  the  Jovian  wisdom  of  Mr.  Mook,  and 
long  for  more  of  the  "cold  and  unsympathetic"  sophisti- 
cation of  Ann  Harding,  one  of  the  finest  and  most 
appealing  artists  the  stage  has  yet  given  to  a  bored 
public. 

Look  again,  Mr.  Mook,  beneath  that  characteristically 
"destructive  coiffure,"  of  which  you  so  evidently  disap- 
prove, to  see  the  fearlessness,  the  tenderness,  the  human- 
ity of  those  eves  and  that  lovely,  sensitive  mouth,  and 
then  thank  your  stars  that  out  of  the  welter  of  muck 
of  "what  the  people  want"  we've  been,  privileged  to  see 
"Condemned"  and  "Paris  Bound." 

If  we  are  to  have  talkies,  for  Heaven's  sake  let  us 
have  players  who  can  talk,  or  let  us  sit  quietly  and 
absorb  the  beauty  of  the  peerless  Corinne,  or  the  baby 
ways  of  "our  Mary,"  and  not  suffer  the  disillusionment 
that  we  must  when  they  open  their  mouths  to  talk ! 
And  remember,  Mr.  Mook.  there  are  a  few  thousand 
of  us  who  prefer  a  finely  constructed  drama  to  flashes 
of   female  anatomy  and  mushy  theme  songs. 

Isabel  Bartlktt  Hatch. 

(,n  1  [ighland  Avenue, 

( h-cen field,   Massachusetts. 

"On  Land  and  on  Sea." 

Tn  response  to  Gilda's  letter,  headed  "Three  Cheers 
for  Dick."  in  which  she  said  that  she  admired  Barthel- 
mess  for  snubbing  some  schoolgirls  in  Mexico  City, 
may  I  ask  who  is  lie.  compared  to  the  many  better- 
known  and  better-loved  actors,  to  ignore  those  who 
make  his  livelihood  possible?  Just  a  drop  in  the  bucket, 
compared  to  the  many  real  players. 

Last  summer,  while  cruising  around  Catalina  Island, 
I  saw  several  parties  of  movie  people  on  their  yachts, 
among  then  Cecil  DeMille.  Nils  Asther.  Victor  Mc- 
Laglen,  and  others,  all  of  whom  returned  our  greetings. 


But  Barthelmess — Dick  turned  his  back,  not  casually  or 
nonchalantly,  but  very  abruptly  and  rudely. 

When  pictures  starring  Barthelmess  are  advertised, 
this  unpleasant  happening  comes  to  mind,  and  I  prefer 
staying  home  to  contributing  to  the  upkeep  of  his  yacht. 

Bernice  Thompson. 
1734  Lemon  Avenue, 
Long  Beach,  California. 

Heavens!     A  Harem  for  Gary? 

When  people  take  upon  themselves  the  positions  of 
match  breakers,  it  is  time  the  bar  went  up.  I  refer 
particularly  to  the  case  of  Lupe  Velez  and  Gary  Cooper. 
Ever  since  their  engagement  was  announced,  it  has  been 
tabooed  by  these  few.  I  sincerely  hope  that  the  mar- 
riage took  place  soon  after  the  announcement.  Whether 
or  not,  they  are  still  loving  each  other,  and  Gary  is  put- 
ting up  with  it  and  likes  it. 

It  was  pointed  out  to  him  by  R.  Newcomb  that  it 
was  indeed  unfortunate  and  the  sooner  he  terminated 
it  the  better. 

Lupe's  feelings  were  not  spared  one  bit,  for  Fay  Wray 
and  Mary  Brian  were  selected  as  suitable  partners, 
although  in  Fay's  case  it  was  too  late  for  a  romance. 
Still  that  leaves  Mary  Brian.  We  are  not  told  if  Mary 
is  to  have  any  say  in  the  matter  or  not.  Excuse  me, 
R.  Newcomb,  but  since  when  were  you  elected  Gary's 
keeper?  If  he  has  gone  down  in  the  estimation  of  a 
number  of  so-called  fans,  then  he  must  have  gone  up 
in  the  estimation  of  thousands  of  others,  for  he  has 
reached  the  pinnacle  for  which  he  was  headed  and  is 
sitting  there  good  and  pretty.  It  wouldn't  matter  if  lie 
kept  a  harem.  Thanks  to  Marie  Price  for  the  informa- 
tion she  handed  out  so  sweetly,  but  it  missed  the  mark. 

A    MoXTREALER. 

Montreal,  Quebec,  Canada. 

Slightly  Out  of  Tune? 
What  is  all  this  racket  about  John  Gilbert  being 
through,  and  that  his  voice  is  impossible  and  a  com- 
plete flop?  Just  because  his  vocal  cords  were  not  func- 
tioning at  topnotch  in  "His  Glorious  Night"  is  no  rea- 
son for  saying  he  is  not  as  good  an  actor  in  talking 
pictures  as  he  was  in  the  silent.  One  swallow  does  not 
make  a  summer,  and  one  poor  picture  does  not  neces- 
sarily condemn  one  as  a  had  actor. 

Continued  on  page  10 


VITAPMONE 

JOINS       TWO       JOYOUS       STARS       IN       ONE       GREAT       COMEDY       SPECIAL 


10 


What  The  Fans  Think 

Continued  from  page  8 


John  Gilbert's  reputation  lias  already- 
been  made,  and  nothing  can  steal  his  fame 
from  him.  Have  Fans  forgotten  his  splen- 
did performances  in  "The  Count  of  Monte 
Cristo,''  "The  Merry  Widow,"  "Love," 
"The  Big  Parade,"  and  "Cossacks"?  His 
fame  rests  securely  on  these,  and  no 
carping  critic  can  filch  it  from  him. 

Be  good  sports,  fans,  and  give  him  an- 
other chance.  Voice  culture,  and  more 
care  and  time  spent  on  his  next  picture, 
will  surely  restore  him  to  his  old  place  in 
■the  fans'  affections,  provided  the»  picture 
is  a  worthy  medium   for  his  art. 

Mrs.   Frank  E.  Richardson. 

Villa  Cedars,   Richardson  Road, 
Hope  Hull,  Alabama. 

How  Some  Quarters  Stray. 

What  becomes  of  the  quarters  sent  in 
for  photos?  Perhaps  this  will  serve  as 
an  answer  to  the  preposterous  insinuations 
of  some  of  the  fans. 

I  have  been  receiving  money  through  the 
mail  for  some  time  in  connection  with  the 
Lois  Moran  club,  which  I  conduct.  One 
day  I  received  a  notice  to  appear  at  the 
post  office  in  person.  I  was  handed  a  letter 
which  had  arrived  open,  and  was  asked  if 
anything  was  missing.  Fortunately,  the 
writer  mentioned  an  inclosed  quarter,  and 
i:i  the  same  mail  pouch  which  brought  the 
open  letter  was  a  loose  quarter. 

But  there  were  many  letters  which  I 
never  did  receive,  and  they  contained  dol- 
lar bills.  Needless  to  say  it  was  with 
difficulty  that  I  assured  those  who  claimed 
to  have  sent  the  money  that  I  had  not  re- 
ceived it.  Where  did  the  money  go?  It's 
hard  to  say,  exactly,  but  I  do  know  that 
I  felt  more  or  less  put  out,  as  the  whole 
thing  cast  reflections  my  way.  I  can 
imagine  how  the  players  must  feel,  reading 
these  direct  insinuations  against  their  hon- 
esty. 

Don't  always  blame  the  stars.  It  may 
be  true  that  some  are  negligent — I  don't 
know.  And  I'm  sorry  for  any  one  who 
has  sent  several  quarters  for  photos  and 
received  no  reply.  If  the  money  reaches 
its  destination,  then  the  star  should  main- 
tain the  same  honesty  his  fan  displayed, 
and  send  a  photo.  Why  not  assure  your- 
selves, fans,  that  your  quarters  reach  their 
destinations,  before  publicly  casting  any 
reflections? 

Remember,  mail  has  an  uncanny  habit 
of  straying,  especially  mail  containing  loose 
money. 

The  players  have  no  way  of  knowing 
anything  about  their  mail,  which  arrives 
in  such  enormous  quantities,  until  it  gets 
into  their  own  hands.  Think  of  all  the 
handling  before  your  letter   reaches   them. 

Lest  any  more  make  a  mistake — and 
many  do,  for  I've  received  letters  with  a 
simple,  little  application  blank  filled  out, 
and  a  loose  bit  of  change  jumping  all  over 
the  interior  of  the  envelope,  and  marveled 
at  the  safety ! — here  are  a  few  points  to 
remember,  when  sending  money  through 
the  mail  for  anything,  photos,  club  dues, 
or  stick  candy.  If  you  do  not  purchase  a 
money  order,  and  cannot  register  your  let- 
ter, then  take  other  precautions. 

Wrap  your  coin  or  bill  so  that  it  is  not 
easily  recognized  as  such  by  feeling. 

Address  your  letter  plainly,  in  ink,  and 
also  give  your  name  and  return  address. 
There  can  be  no  mistake  in  the  direction 
this  way. 

When  sending  money  through  open  mail, 
be  sure  you  use  a  good,  heavy  envelope, 
and  be  sure  it  is  sealed  securely. 

A  good  idea  when  sending  a  coin,  if  a 


regular  coin-container  is  not  available,  is 
to  paste  it  between  two  pieces  of  thin 
cardboard. 

I'm  sure  the  players  would  be  glad  to 
come  to  an  understanding  with  the  fans 
about  this  money  business.  I  can't  feel 
that  any  player,  receiving  the  salaries  they 
do — though  some  of  those  salaries  are  ex- 
aggerated, for  the  benefit  of  the  hungry 
public's  appetite ! — would  stoop  so  low  as 
to  collect  those  quarters,  and  give  noth- 
ing in  return  for  them.  That  is  rather 
ridiculous,  don't  you  think? 

Genevieve  A.  Larrieux-Loudance. 

P.  O.  Box  272, 
Wilmington,    California. 

The   Quality  of  Mercy. 

How  I  hate  pessimistic  people !  Those 
who  contribute  to  this  page,  saying  "She's 
a  flop.  He'll  never  get  anywhere.  Who 
got  them  in  the  movies?"  or  "They're  just 
kids.  Who  cares  about  seeing  smart- 
Alecks  cut  up?" 

Let  me  say  to  those  wise  birds  who  know 
so  much,  that  it's  the  youth  of  to-day  that's 
making  this  country  the  desirable  place  it 
is.  Of  course  there  are  many  failures,  but 
let's  not  condemn  them.  Is  it  not  better 
to  try  and  fail,  than  never  to  have  tried? 

I  wish  to  say  further,  that  most  of  my 
favorites  are  stars  who  have  come  back, 
as  well  as  a  bunch  of  youngsters  who  are 
having  tough  breaks  in  filmland.  When  a 
young  player  is  miscast,  please  don't  say 
"Throw  him  out,"  but  say  "Come  on,  fans, 
let's  put  him  over.  Let's  see  that  he  gets 
better  roles."  Eddie  Jerome. 

Box  782,  Donna,  Texas. 

They   Can't   Fool   Jennie. 

Why  pick  on  Richard  Barthelmess  so 
much,  when  half  the  other  players  have 
voice  doubles?  In  "Mother  Knows  Best" 
Barry  Norton  didn't  sing.  In  "The  Wolf 
of  Wall  Street"  Paul  Lukas  didn't  speak. 
When  these  players  moved  their  lip?  you 
could  notice  that  some  one  was  doubling 
for  them,  but  when  Richard  Barthelmess 
moved  his  lips  you  never  knew  that  some 
one  was  singing  for  him,  so  you  must  ad- 
mit that  that  was  pretty  clever.  We 
never  would  have  known  that  Frank 
Withers  had  doubled  for  him  if  we  hadn't 
read  about  it,  but  it  certainly  gets  you  sore 
when  you  find  it  out. 

The  talkies  have  enough  faults  with- 
out voice  doubling.  Why  put  a  player 
who  can't  sing  in  a  singing  picture  and 
have  him  get  the  credit  for  the  double's 
work? 

Nowadays  instead  of  listening  to  a 
talkie,  I  watch  the  movements  of  the 
players'  lips.  Every  time  I  hear  a  song  I 
can't  believe  it's  the  star  singing. 

Of  course,  there  are  some  players  with 
lovely  voices.  I  wasn't  a  bit  disappointed 
in  William  Powell,  Evelyn  Brent,  Clara 
Bow,  Margaret  Livingston,  Ronald  Col- 
man,  Betty  Compson,  William  Boyd,  and 
George   Bancroft.     Jennie   Schulman. 

152  Varet  Street, 

Brooklyn,   New  York. 

An  Appeal  to  "Dorothy." 

Will  "Dorothy,"  of  7,  Algar  Road,  Isle- 
worth,  Middlesex,  England,  please  write 
to  me  at  once  and  give  her  full  name?  I 
have  a  long  letter  waiting  to  mail  to  you, 
Dorothy,  as  soon  as  you  send  me  your 
last   name. 

Elinor  Garrison  Henderson. 
521   Puget  Street,  _ 
Olympia,  Washington. 


11 


Baclanova    Gets   a   Hand. 
Rose    Boris'    letter    in   a    recent    PlCTUBB 

Pla>  me   to   express   mj    joj    at 

finding,  at  tu>t.  some  one  who  fully  appre- 

-  that  most  wonderful  actress,  Bada- 

■ 

It  i<  very  n. I  nowadays  to  lind  j 

a  person  able  to  recognize  n 

sees    it.     I    have   alwaj  -  I   the 

many    beautiful    women   on    the    Amei 

;   but   to   my  mind   none  of   them — 
with  be  called 

es    in    the    trr..  i    the    word; 

their  act::  Produc- 

l    -     bink  that  tragedy   queens  and  come- 
diennes  can    '.'.  .    and    that 
is    their    great    mi-take.      Who"  could,    tor 
call    Clara    Bow's    vub. 
S 

s  ridiculous  attem; 

Their    undoubted 
-   only  due  to  the   fact  that   the 
public  in  general  i-  norant  enough 

to  admire  a  pretty  face  and  youthful  con- 
tours more  than  histrionic  talent. 

I  have  heard  many  intelligent,  cultured 
peop!  •  >,e  opinion  that  Lillian  I 

and   Pauline    Fi  only   two 

American  actresses  who  have  real  talent, 
and  I  must  say  that  I  agree  with  them. 
Baclanova's  charm,  though  totally  dif- 
I  from  that  of  Lillian  Gish,  is  just 
as  captivating,  and  her  ability  is  just  as 
great.  Besides  this,  her  personality  i- 
unique.  I  also  agree  with  Miss  Boris 
that  Baclanova  as  a  woman  is  delightful,  ' 
and   I   am  glad  to   see  that   she   still   be- 

-  that   a    woman    should    look   like    a 
woman  and  not  like  an  ironing  board. 

In  my  desire  to  be  just.  I  must  say 
that  my  opinion  of  American  actr^ 
cannot  be  applied  to  its  actors.  H 
wood  can  boast  a  whole  handful  of  really 
talented  actors — Lon  Chaney,  the  Barrv- 
mores,  John  Gilbert,  and  Charlie  Chaplin 
can  serve  as  examples.  But  the  height  of 
perfection  in  acting,  in  my  opinion,  has 
been  attained  by  that  marvelous  man, 
Ronald  Colman.  Could  one  ask  for  any- 
thing better?  His  ability  is  so  great,  and 
his  portrayals  so  true  to  life,  that  he  suc- 
ceeds in  making  one  forget  that  he  is 
acting.  His  personal  charm  is  unequaled 
by  any  other  actor,  and  his  much-talked-of 
nee  is  only  one  of  the  characteristics 
of  a  gentleman. 

Baclanova  and  Colman  remind  one  that 
there   still   exist   real   men   and   women   in 
the  world  of  flappers  and  mothers'  boys. 
Miss  C.  Garcia. 

Calle  11— Entre  Je  I,  Havana,  Cuba. 

Won't  Miss  Brian  Last? 

Emphatically  I  agree  with  "Just  Me," 
who  says  that  Mary  Brian  really  cannot 
act.  an  example  of  the  type  who 

can  "put  it  over"  by  doing  nothing  but 
just  looking  sweet,  honeylike,  and  pleas- 
ing to  the  eye.  But  even  those  who  do 
not  favor  the  little  Wendy  girl  must  ad- 
mit she  has  "put  it  over  long  her 
popularity  will  last  is  another  more  doubt- 
ful matter.                                    Joe- A:. 

Sydney,   Australia. 

Ruth   Chatterton   for   Claire   Windsor. 

A   question    which,    I    presume,   quite    a 
few    other    fans    would    like    answer' 
why  the  producers  are  running  to  Broad- 
way   f  r   actors   and   a  I 
have   people    who   are   just 
capable   of    giving   the   same   characteriza- 
tions.     Take    the  .van- 
Bebe    Daniels,    Richard    Barthclmcss, 
Ronald  Colman,   at 

P -■-ducers  .  decide  we  do  not  wi-h  to 
see   Leatrice  Joy.   Florence  ther 

Ralston,  Claire  Windsor,  and  ^o  on,  and 
think  they  are  doing  u-  a   favor  by  giv-  i 


disfiguring  hair  growths 

not  only  removed,— 
destroyed  under  the  skin 


The  undergrowth  m 
in  order  to  prevent 

No  longer  need  you  fuss  about  su- 
perfluous hair  every  week.  It  was 
proved  many  years  ago  that  ZIP 
permanently  destroys  hair 
growths.  Since  then  hundreds  of  thou- 
sands of  women  have  been  using  it 
with  amazing  success.  It  is  a  favorite 
with  stage  and  screen  stars  as  well  as 
Beauty  Specialists  for  face,  arms,  legs, 
body  and  underarms. 

Harmless — Painless 

ZIP  is  not  to  be  confused  with  de- 
pilatories which  merely  burn  off  the  sur- 
face hair  by  chemical  action.  ZIP  gets 
at  the  cause  —  the  roots — and  in  this 
way  destroys  the  growth.  It  is  also  en- 
tirely different    from    ordinary  "wax" 


Simply  ask  for  ZIP 
at  your  favorite 
Drug  Store  or  Toilet 
Goods     counter 


ust  also  be  removed 
a  bristly   re  growth 

treatments  made  to  imitate  the  genuine 
Epilator  ZIP.  After  years  of  research 
this  safe  and  painless  product  was 
created.  Remember,  there  is  no 
other  Epilator. 

ZIP  leaves  no  trace  of  hair  above 
the  skin;  no  prickly  stubble  later  on; 
no  dark  shadow  under  the  skin. 

A  Permanent  Method 

It  is  a  harmless,  fragrant  compound 
free  from  sulphides,  and  pleasant 
to  use.  Moreover,  there  are  no  dis- 
agreeable fumes,  no  discoloring  of 
porcelain  and  tile.  ZIP  acts  immedi- 
ately and  brings  lasting  results.  You 
will  be  delighted  and  you  risk  nothing, 
for  each  package  oiZIP  is  guaranteed. 


Treatment,  or  Dem- 
on   r  mtu>r\       w 
chnrfie   in   New    York 
only     at     any    Salon 


Specialist 

^  AVENUE,  NEW  YORK 


Entrance  on  46th  Stfrt 

me  Bert  he,  Spniaiiit 
562  FIFTH  AVE.,  NEW  YORK  |T§     ^^PF 

By  mail,  in    plain  envelope.  tell    I         I 
about  ZIP  and  how  to  be  entirely  ! 
of  hair.    Al»o  »encl  "Beauty'i  Greateat    I 
■TitlaOUl  charge. 


<ecause 
ITS  OUT 


City  tP  State  

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12 


tag  as,  in  their  stead,  such  pictorial  wash- 
as  Ruth  Chatterton.  Jeanette  Mac- 
donald,  Norma  Terns,  Marguerite 
Churchill,  and  others  too  numerous  to 
mention. 

What  motion-picture  actress  could  not 
give  >  adequate  performances  as  Ruth 
Chatterton  gives?  The  majority  of  them 
are  much  more  versatile.  It  doesn't  seem 
:  she  can  play  any  other  parts  but 
society  women,  and  even  then  she  docs 
not  play  them  half  as  well  as  our  own 
Gloria  Swanson.  Could  she  play  Sadie 
Thompson  or  a  comedy  role?  If  she  can, 
she  i<  keeping  the  fact  very  dark.  1  will 
admit  some  of  the  stage  actresses  arc 
fairly  interesting— Kay  Francis,  for  in- 
Stance — but  for  both  looks  and  acting 
ability,  both  in  silent  and  talking  pictures, 
give  me  the  moving-picture  actors  and 
actresses  and  not  those  from  the  stage. 
Ian   Barrett. 

Montreal,  Canada. 

Refreshing  As  Mountain  Air. 

So  much  excellence  and  beauty  has 
been  given  to  the  screen  that  it  seems  the 
ultimate  has  been  surpassed  and  the  great- 
est has  already  been  accomplished  time 
after  time.  Daily  we  ask  ourselves  what 
more  can  be  left  in  splendor,  achieve- 
ment, and   acting   for  motion  pictures. 

Yet  the  world  moves  ever  onward  and 
carries  with  it  the  people  who  have  given 
us  their  interpretations  of  many  roles. 
The  king  is  dead — long  live  the  king! 
That  is  the  spirit  of  the  public,  who  sees 
its  stars  arrive  with  a  flourish  and  depart 
into  the  land  of  the  forgotten,  without  ac- 
claim. It  is  inured  to  losing  those  on 
whom  it  has  fastened  its  favor.  There 
is  always  another  star  to  take  his  place ! 
Let  him  go ! 

There  is  one  star,  however,  who  holds 
her  popularity,  who  lives  in  the  hearts 
of  those  who  follow  her  pictures  and  love 
the  serene  beauty  of  her  performance. 
Like  a  breath  of  mountain  air,  she  comes 
with  the  eternal  spirit  of  womanhood  in 
her  heart  and  gives  us  something  we  have 
hungered  for.  She  creates  for  us  a  new 
life,  one  filled  with  poetry  and  romance 
and  glory.  She  smiles,  and  the  world  of 
trouble  vanishes,  and  the  kingdom  of 
dreams  is  real.  She  sings,  and  we  have 
heard  the  melody  of  love  poured  out  from 
a  vessel  of  the  rarest  purity.  She  speaks, 
and  we  listen  for  the  magic  that  is  her 
voice,  and  thrill  to  it. 

To  men  and  women  constantly  con- 
fronted witli  life's  realities,  she  is  the 
embodiment  of  youth  and  beauty.  She 
is  Lois  Moran  !  Helen'  Ledbetter. 

1041    Goodlet  Avenue, 
Indianapolis,  Indiana. 

Those  Slighted  Chorus  Girls. 

'What  is  the  matter  with  Douglas  Fair- 
hanks,  Jr.?  Surely  you  fans  haven't  any- 
thing against  him.  He  has  more  talent 
and  acting  ability  than  most  young  men 
on  the  screen.  Besides,  if  you  are  Joan 
Crawford's  fan,  it  would  be  no  more  than 
ripht  for  you  to  support  him,  too.  Joan 
is  a  fine  actress,  and  -In-  doesn't  need 
any  one  to  till  her  so,  yet  she  is  criti- 
by  must  of  the  people.  If  you 
would  study  Joan  you  would  learn  to 
appi  -  more. 

In  the  "Hollywood  Revue"  the  ones  de- 
serving the  most  credit  aren't  even  men- 
tioned, neither  were  they  treated  right. 
If  they  had  taken  the  chorus  boys  and 
pirls  out  of  the  picture  it  would  have 
been  a  failure.  Yet  you  never  hear  any- 
thing '•aid  about  them.  I  really  admire 
them  and  their  work  more  than  any  one 
that  took  part  in  the  production.  In  the 
f  the  picture,  when  they  were  giving 


What  The  Fans  Think 

close-ups    of    the    stars,    they    could    have 
given   close-ups    of   the    chorus    boys    and 
girls,  also.     I  have  heard  others  who  have 
the  same  opinion  that  I  have,  and  I  hope 
that  they  will  be  given  more  credit  in  the 
next    picture.      If    any    of    the    boys    and 
girls    who    took    part    in    this    production 
I   this,   I  would  like  to  hear   from  you, 
or    from   any  others   who   care   to   write. 
Melvin   Reese. 
811    O'Shaughnessy    Avenue, 
Huntsvillc,   Alabama. 

Heralding    Evelyn    Laye. 

As  an  English  reader,  I  feel  I  must 
give  you  a  few  words  of  congratulation. 
I  might  say  that  here  we  have  no  weekly, 
monthly,  or  annual  that  can  compare  with 
Picture  Play.  It  is  by  far  the  best  film 
monthly  that  I  have  ever  seen,  and  I 
hope   to   read   it    for  the  rest  of   my   life. 

I  have  noticed  lately  how  eagerly  you 
all  are  awaiting  the  arrival  of  our  own 
dear  Evelyn  Laye  in  Hollywood  to  make 
her  talkie  debut.  I  can  assure  you  right 
now  that  she  will  be  nothing  short  of  a 
sensation.  I  am  all  on  edge  to  see  and 
hear  her  first  talkie,  and  I  only  hope  that 
Samuel  Goldwyn  chooses  Ronald  Colman 
to  play  opposite  her.  My,  what  an  ideal 
pair!  She  is  by  far  the  most  beautiful 
English  actress,  and  has  a  wonderful 
singing  voice. 

What  a  pity  America  has  not  discov- 
ered her  before !  She  would  have  made 
her  name  some  years  ago,  but  England 
has  sadly  neglected  her.  She  has  only 
played  in  one  or  two  very  poor  films ; 
therefore,  she  has  never  reached  the  hearts 
of  English  fans;  but  she  will  do  so,  once 
Goldwyn  stars  her. 

I  can  assure  him  that  he  will  not  be 
disappointed  in  his  "discovery."  He  cer- 
tainly has  made  the  biggest  discovery  in 
his  life. 

I  am  sure  that  American  readers  will 
agree  with  every  word  I  have  written 
when  they  see  her  first  film. 

One  final  word.  Although  I  am  en- 
thusiastic over  English  films,  I  don't  think 
that  you  will  ever  occupy  second  place  in 
the  film  industry.  You  have  talent,  ideas, 
and  the  right  people  and  producers  to 
father  these  two  things,  but  we  over  here 
have  some  of  the  most  unenterprising 
people   in   the  world.  J.  J.   Drudge. 

20   Ash    Road,    Newport, 
Isle  of  Wight,   England. 

From  a  Vaudeville   Star. 

Florence  Bogart  is  wrong.  The  an- 
swer to  such  beautiful  pictures  as  "Or- 
phans of  the  Storm,"  "The  Scarlet  Let- 
ter," and  "The  Wind"  is  Lillian  Gish. 
Beautiful,  artistic,  delicate  acting,  and, 
best  of  all,  a  humility  and  finesse  that 
few  stars  ever  achieve.  I  have  often 
wished  that  D.  W.  Griffith  would  devote 
his  lime  to  pictures  of  Lillian  alone,  as 
she  was  never  more  perfect  than  when 
under  the  direction  of  this  great  man.  A 
man  presumes  when  he  or  she  dares  criti- 
cize the  attitude  of  an  actress.  Does 
Florence  know  for  certain  that  Lillian 
elf  demanded.  "Has  some  one  been 
criticizing  me?"  I  have  given  many  writ- 
ers leave  to  write  whatever  they  chose 
about  mo,  and  it  was  done  because  the 
time  demanded  of  artists  is  often  too  full 
to  give  each  and  evcrv  interview  person- 
ally. 

I  can  imagine  one  may  snort,  "You 
have  time  for  this  letter!"  I  have.  I'm 
a  fan.  Also,  I  have  time  to  hear  a  little 
Belgian  jjirl  who  has  asked  to  sing  and 
dance  before  me.  Perhaps  she  is  a  "new 
face,"  and  I've  never  permitted  myself 
to  be  too  busy  to  see  potential  artists. 

Fans,    pity    Bill    Haines,    but   don't   cen- 


sure him.     Put  some  of  the  blame  for  his 
overacting  on  directors  and  producers. 

Betty,  did  you  see  Dick  Barthelmess 
in  "Broken  Blossoms"?  After  that,  no 
one  could  say  he  is  cold-blooded.  But 
"Weary  River"  was  just  one  long  plug 
for  a  couple  of  song  writers,  and  it 
nearly  broke  my  heart  to  see  the  Dick  of 
"Broken  Blossoms"  wearily  wandering  in 
wet  waters. 

Greta  Garbo  gripes  me.  Sorry  she  docs 
it.  I  would  adore  her  if — but  then  I  go 
to  see  her  pictures,  so  what's  the  odds? 
When  in  Denmark  I  visited  the  barber 
shop  where  persons  proudly  boasted  of 
the  fact  that  Greta  had  once  mixed  lather 
there. 

Gary  Cooper  is  one  of  my  favorites. 
I  never  think,  "Can  he  act?"  I  just  like 
him,  and  I  do  not  call  his  reserve  high- 
hat.  What  if  Lupe  does  shout  things  to 
him  in  public?  Wouldn't  nearly  any  fan 
die  of  thrills  if  he  heard  such  a  shout? 
That  is,  coming  from  the  fiery,  delightful 
Lupe? 

I  love  Alary  Pick  ford.  I  lose  all  rea- 
son over  her.  I  don't  care  ichat  she  does ; 
I'm  blindly  loyal.  Mary  holds  first  place 
in  my  affections  for  stars,  and  always  will. 

I  have  been  two  years  in  England,  and 
the  American  voice  and  accent  are  dis- 
liked only  by  journalists.  The  public 
doesn't  care  where  pictures  come  from, 
or  what  the  accent  is,  as  long  as  they  get 
good  pictures.  . 

I  spent  three  months  in  Australia  and 
two  in  Africa,  where  the  people  prefer 
American  artists  and  American  pictures 
to   English  productions. 

Laura  La  Plante  is  one  of  the  greatest 
favorites  on  this  side.  She  surely  doesn't 
know  her  power  over  here.  If  she  would 
come  over  and  make  pictures  she  would 
be  the  first  star  of  England  and  the  British 
Isles.  They  love  her,  and  her  name  is 
always  first  in  the  billing  of  any  picture — 
even  when  she  is  only  the  featured  player. 
I  hope  she  sees  or  is  told  about  this,  be- 
cause it's  great  for  her  future.  Let's  hope 
she  realizes  her  greatest  field  for  pictures 
is  here,  where  she  is  already  the  un- 
crowned queen. 

I   hardly  hope   this    long   letter   will   be 
published,  but  if  only  part  is  used,  please 
tell    Mary    she's    my    favorite,    and    Laura 
that  she's  the  greatest  pet  in  England. 
Ann  Suter. 

Brussels,    Belgium. 

What   Makes   An  Actor? 

The  fans  seem  to  care  more  about 
whether  Gary  Cooper  is  high-hat,  or 
whether  the  stars  should  charge  for  their 
photographs,  or  whether  Joan  Crawford 
answers  her  fan  mail,  than  they  do  about 
the  ability  of  the  players. 

Perhaps  I  would,  too,  if  I  had  wasted 
my  quarters,  or  some  one  had  attacked 
my  favorite.  But  when  I  have  written  I 
have  done  so  because  I  just  couldn't  help 
expressing  the  pleasure  I  have  taken  in 
some  particularly  good  acting,  and  have 
never  thought  about  receiving  an  answer. 

I  was  always  a  movie  fan,  but  never 
interested  enough  to  write  until  I  saw 
Dick  Arlen  in  "Wings."  But  since  then 
I  don't  think  Dick  has  had  any  more  per- 
sistent plugger.  I  have  a  couple- of  auto- 
graphed portraits,  and  have  heard  from 
Mr.  and  Mrs.  Arlen  several  times.  After 
giving  us  such  splendid  characterizations 
as  "bum  Dum"  Brooks,  Larry  Lee,  and 
Steve,  I  feel  that  he  has  nothing  to  worry 
about,  and  with  a  voice  which  registers 
delightfully  he  should  keep  right  on  climb- 
ing by  leaps  and  bounds,  as  he  has  this 
past  year.  Elizabeth  G.  Winter. 

13  Westlake   Avenue, 
Auburn,   New  York. 

Continued  on  page  116 


She  Was  Swept  Into  A  Magic  World 

A    chance    resem- 
blance    to     a     famous 
motion-picture    actress 
brought  to  Dawn  Mc- 
Allister   the    opportu- 
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world    of    stenography 
for  the  fascinations  of 
the  motion-picture  lot. 
And    soon    she    was 
head  over  heels  in  love 
with  an  actor  and  in- 
volved in  the  strangest 
mesh  of  circumstances. 
For  Fate  decreed  that 
she  must  go  on  imper- 
sonating   the    famous    star, 
and  soon  she  was  the  reign- 
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14 


w 


* 


You  folks 
must  think 
I  can't  play/ 

I  cried,  when  they  laughed  at  my  offer 


IT  was  the  monthly  get-together  of  our  lit- 
tle group.  We  had  met  at  Tom's  house, 
and  the  tun  was  at  its  height.  Mabel 
had  just  finished  singing  a  touching  version 
of  "Frankie  and  Johnny"  and  the  room  fairly 
shook  with  laughter.    Then  I  offered  to  play. 

"Boy!  This  is  going  to  be  good.  Did 
you  folks  hear  what  Jim  just  proposed? 
lie  said  he'd  flay  for  us!"  cried  Tom. 

I  pretended  to  be  highly  insulted.  Draw- 
ing myself  up  with  mock  dignity,  I  said, 
"You  folks  must  think  I  can't  play  !  Why, 
the  very  idea  !" 

This  caused  a  fresh  explosion  of  laugh- 
ter. "Can't  play  !"  called  some  one.  "Say, 
if  I  could  play  as  well  as  you,  I'd  be  dig- 
ging ditches  right  now  !" 

That  was  too  much.  Seating  mys<  If  at 
the  piano  I  held  up  my  hand  to  command 
silence.  Then,  with  a  good  many  flourishes 
and  turning  of  pages,  I  opened  the  "Col- 
lection of  Southern  Songs"  at  "Swanee 
River,"  turned  it  upside  down,  and  began 
to    play. 

And  how!  My  usual  one-finger  clown- 
ing was  as  noth:  :g  compared  to  the  per- 
formance 1  put  on  now.  It  was  masterly. 
I  traveled  up  and  down  that 
oard  with  my  one  good 
r,  as  Tom  called  it.  until 
the  crowd  howled  for  mercy. 
Finally  I  stopped,  turned 
around,  and  demanded. 

"Now    who  I    can't 

play?" 

"You  win  '"  came  from  all 
"Only    please    don't 
demonstrate    any    more,    for 
.  e  of  heaven  I" 

Bui  instead  of  getting  up 

from  the  piano,  I  suddenly 
swung  into  the  haunting 
strains  of  "T!  Love 


PICK    YOUR 
INSTRUMENT 


Piano 

Organ 

Ukulele 

Cornet 

Trombone 

Piccolo 

Guitar 


Violin 
Clarinet 
Flute 
Saxophone 
Harp 
Mandolin 
Telle 
Hawaiian    Steel     Guitar 
Sight  Singing 
Piano  Accordion 
Italian  and   Germ-in   Accordion 
Voice  and  Speech  Culture 
Harmony  and   Composition 

Drums  and  Traps 

Automatic   Finger  Control 

Banjo    (Plectrum. 

5-String  or  Tenor) 


Song."  But  with  a  difference  !  This  was 
not  clowning,  but  real  music.  I  played  as  I 
had  always  longed  to  play — beautifully, 
effortlessly,    with    real    skill   and   feeling. 

No  wonder  the  crowd  gasped  with  astonish- 
ment !  I  knew  they  could  hardly  believe  their 
ears.  Th  ■  moment  the  piece  was  finished  they 
overwhelmed  me  with  questions.  Where  had  I 
learned  to  play T  When  had  I  studied?  Who 
icas  my  teacher?      Why  hail  I  kept  it  a  secret? 

How  I  Taught  Myself  to  Play 

And  so  I  told  them  the  whole  story.  Told 
them  how,  ever  since  I  was  a  child,  I  had  been 
crazy  about  music.  But,  like  most  children,  I 
haled  lo  praet  ice.  Thai's  why,  after  a  few  des- 
ultory attempts,  my  music  lessons  were  given 
up,  and  I  had  to  content  myself  with  hearing 
others  play. 

But  every  time  I  pepped  up  a  party  with 
my  one-finger  clowning  the  longing  to  really 
play  returned.  However.  I  had  no  time  now 
to  take  lessons  and  spend  hours  practicing,  to 
say  nothing  of  the  expense  of  a  private 
teacher.  Just  as  I  was  beginning  to  think  that 
my  dream  of  some  day  learning  to  play  would 
remain  a  dream,  I  happened  to  come  across 
an    ad    of    the    1'.    S.    School    of    Music 

"Why,  that's  a  correspondence  school,  isn't 
it  V"    interrupted   Tom. 

"Yes,"  I  told  him.  "It's  a  correspondence 
school.  The  acl  had  offered  a  Free  Demonstra- 
tion Lesson  lo  prove  bow  easy  il  is  lo  learn 
lo  play  at  home,  Without  a  teacher,  in  one's 
Spare  time.  That  sounded  reasonable  to  me, 
and  I  sent  for  the  test  lesson.  But  I  never 
expected  that  it  would  be  as 
easy  as  it  actually   was. 

"That's  why  I  sent  for  the 
entire  course.  It  was  great.  The 
D.  S.  School  of  Music  course  re- 
quires no  private  teacher — no 
interruption  to  one's  regular 
duties.  I  learned  in  my  span- 
nine,  after  work,  and  enjoyed 
each  lesson  as  much  as  if  it 
bail  been  a  delightful  game. 
For  there  are  no  long  hours  of 
practice — no  tiresome  scales — 
I  he  U,   S.   School   of  Music  way. 

Everything  is  as  easy,  almost, 
as  A-B-C. 

"In  fact,  almost  before  I 
knew  it.  I  was  able  to  play  all 
(be  pieces  I  bad  always  longed 
to  do.  Jazz,  classical,  any- 
thing. But  I  didn't  want  to 
tell  you  folks  until  I  was  sure 


Well, 


of  myself — you  know,  no  clowning 
what    do    you    say?" 

They  were  dumbfounded.  But  only  for  a 
little  while.  Then  they  eagerly  demanded  piece 
after  piefe — dance  music,  ballads,  snappy 
songs.  Now  I'm  never  invited  anywhere  that 
1  m  not  pneti:  illy  forced  to  enteit  tin  v.  ith  m\ 
music.  Some  difference  between  now  and  the 
days  when  they  used  to  listen  to  my  clown- 
in?  with  polite  attempts  to  act  pleased  .  .  . 
As  Tom  says,  learning  to  realty  play  lias 
certainly    made    me   popular. 

No  Talent  Needed 

This  story  is  typical.  People  who  once 
didn't  know  one  note  from  another  are  good 
players  to-day — thanks  to  the  U.  S.  School 
of    Music. 

For  the  U.  S.  School  Course  presents  everything  in 
such  a  ((incise,  graphic  way — so  clear  and  simple — that 
B  Child  could  understand  it.  No  time  is  wasted  on 
theories — you  get  all  the  musical  facts.  You  get  the 
leal  meaning  of  musical  notation,  time,  automatic  finger 
control,    harmony. 

You  simply  can't  go  wrong.  First  you  are  told  what 
to  do — then  a  picture  shows  you  how  to  do  it — then  you 
do  it  yourself  and  hear  it.  No  private  teacher  could 
make  it  any  clearer.  Many  students  get  ahead  twice  as 
fast    as   they   would   the  ordinary   routine   way. 

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13 


PICTURE  PLAY,  July,  1930 


Volume   XXXII      Number   5 


mbcr 


Photo  by  Oca*  Hatwrt  111  rim 

'"True  to  the  Navy"— and  Clara  How  does  her  best  to  convince  Fredric  March  thai 

her  success  in  "The  Fleet's  In."  vou  will  have  no  doubt  of  her  ability  to  entertain  loleheartedly 

as  the  fans.     For  Clara'-,  talent  in  keeping  a  group  of  butld<  apparently  stimulated   v. 

are  in  uniform.     In  her  new  picture  tl  •  da  fountain  wl..  quid  refreshment 

and  where,  until   Gunner  McCov  corner   along,   she  carries   on    writ)  hand. 


1G 


Beauty  and  talent  made  Agnes  Ayres 
a  star,   but  now  her  hopes   are   cen- 
tered   on    vaudeville. 


BEHIND  every  movie  success 
lurks  the  grim  phantom  of 
disaster.  Behind  every  glis- 
tening celluloidal  triumph  stalks  the 
specter  of  a  desuetude  more  sad 
than  it  is  innocuous. 

Hollywood  is  a  giant  whirligig, 
on  which,  to  hold  a  place,  is  some- 
thing akin  to  a  death  struggle. 
Those  who  are  in  the  center  of  the 
merry-go-round  move  slowly  and 
safely — perhaps.  But  those  on  the 
swiftly  rotating  outer  edge  may  top- 
ple off  at  any  moment.  Ever  ready 
to  leap  upon  the  flying  carousel  is  a 
throng,  hoping  some  one  may  have 
to  let  go,  some  one  who  finds  the 
momentum  too  great — even  battling 
for  a  place  and  stamping  over  the 
strewn  bodies. 

The  strange  thing  is  that  despite 

all  the  moil  and  trouble  nobody  ever 

ive  the  film  colony.     A 

scant     few    have    departed,    but    the 

rest  stay  on  though  broken-hearted 

i   you  want  to  put  it  into  a  rhyme 


Trie  Heartbreak 

It   belongs  to   former   stars   who   cling   to   the   hope   that 

a    brave    front    and    seemingly    ignore    the    multitude    of 

Theirs    are    the    broken    hearts    of    Hollywood, 

By  Edxtfin 

— somebody  has  to  take  the  rap !  "Gee,  I  hope  it  isn't  me !" 
scream  the  players  in  their  more  hysterical  moments. 

The  lucky  stars  are  the  ones  under  contract  to  the  studios, 
lucre  are  only,  even  during  these  flush  days  of  the  talkies, 
about  three  hundred  of  them.  And  they — at  least  the  majority — 
arc  assured  of  a  weekly  salary.  But  what  of  the  others — those 
who  have  had  their  names  emblazoned?  What  indeed?  The 
I  Iollvwood  hills  are  full  of  people  who  have  never  lost  the 
spark  of  ambition,  people  who  have  tasted  the  riches,  the  fame, 
and  the  glory  of  being  a  cinema  celebrity,  or  tasted  at  least  a 
bit  of  fortune,  and  these  are  all  to  be  counted  on.  Some, 
indeed,  are  very  high  favorites. 

There  is  William  S.  Hart,  for  example,  who  challenged  all 
Western  gunmen  in  his  days  of  grandeur.  Bill  is  comparatively 
comfortable.  He  has  an  imposing  mansion  on  a  hill  some 
distance  from  the  film  metropolis.  He  could  remain  in  retire- 
ment with  ease  for  the  rest 
of  his  life.     But 


Bill  is  still  an  enthusiast 
for  work.  He  would  like 
to  be  back  on  the  screen. 
His  fans  have  shown  that 
they  want  him  back,  by  the 
number  of  letters  that  they 
send  him.  He  would  un- 
doubtedly be  twice  as  good 
in  talking  pictures  as  he 
was  in  silents.  for  he  has 
the  background  of  years  of 
stage  experience. 

However,  it  is  said  that 
there  is  some  sort  of  ban 
on  his  activity.  Bill  him- 
self says  so,  at  any  rate. 
He  was  signed  for  a  talking 


Acclaimed  the  foremost  actor  on  the  screen, 

Emil  Jannings  was  dethroned  by  song-and- 

dance  films. 


Standing    on    the    side    lines  — 
that  is  a  name  for  a  game  played  in  season  and  out  in  the  studio  world.     "Oh,  I'll 
my  break  some  day!"  is  the  slogan  of   faith  and  courage  among  the  less  for- 
tunate  citizenry. 

real  truth  of  the  matter  is  that  there  aren't  enough  jobs  to  go  round,  and 
haven't  been  for  years.  Pictures  are  pretty  well  stabilized — so  the  Will  11.  Hays, 
or  any  portentous  business  office,  will  tell  you.  There  are  about  seven  hundred 
pictures  made  in  a  year.  There  are  perhaps  seven  good  roles  in  each  of  these 
features.  That  makes  four  thousand  nine  hundred  opportunities  in  a 
single  year.  And  then'  are  seven  thousand  actors,  fully  half  of  whom  Once  a  DeMille  heroine,  Lillian 
credit.  Rich  has  waited  a  long  time  for 

These  are  cold  Statistics,  and  they  spell  JUSl  one  thing,  in  the  parlance  another    opportunity. 


17 


Bekind  tke  Smile 

some  day  they  may  return  to  the  screen.  They  keep  up 
newcomers  that  gather  round  the  candle  flame  of  success, 
theirs  the  tragedy  of  royal  robes  worn  threadbare. 

Schallert 


Western  by  Hal  Roach  about  a  year  ago — but  the  plan  of  star- 
ring him  never  came  to  fulfillment.  Therefore  he  waits  and 
watches,  a  bit  skeptical  about  the  whole  thing,  but  still  lured 

rather  cruelly  by  the  screen,  fame  being  the  keynote  rather 
than  money,  in  his  case. 

Ruth  Roland  has  contemplated  a  comeback  on  more  than  one 
-ion.  She  is  still  a  favorite.  Exhibitors'  letters  proved 
that,  when  her  intention  oi  returning  was  announced.  She  is 
coming  hack;  that  is  now  a  certainty,  though  the  film  was  con- 
siderably delayed  in  the  making.  But  when  did  Ruth  last 
appear?  Records  do  not  show  any  activity  with  which  she  was 
identified  since  \{)27.  This  was  in  "The  Masked  Woman." 
which  starred  Anna  O.  Nilsson. 

Meanwhile  Ruth  has  continued  to  he  a  figure  in  the  colony — 
an  integral  part  of  its  social  life.  Her  parties,  and.  especially 
her  marriage,  have  been  events  of  importance,  attended  by  stars 
in  the  first  rank  of  popularity  to- 
day. They  pay  to  Miss  Roland 
the  tribute  of  their  fondness  for 
her  and  their  admiration.  But 
only  a  new  company,  with  need 
for  personalities,  was  willing  to 
give   her  the   chance   before   the 

Shirley    Mason    and    Viola    Dana, 

once    stars,    are    on    Hollywood's 

waiting   list. 


0 


**. 


If         ^ 


»= 


[*hnto  by  Kefslfre 

It     seems     only     yesterday     that 

Constance     Talmadge     was     the 

reigning  star  of  high  comedy. 

public.  I  don't  know  whether 
of  not  Miss  Roland  will  prove 
an  actress  in  the  modern  ac- 
ceptance of  that  word,  hut  cer- 
tainly she  is  remembered  favor- 
ably by  many  fans  from  her 
pa-t  endeavor-. 

Bill  Hart  and  Ruth  Roland 
are  exceptions  in  having  a  fair 
share  of  the  world's  bounti 
What  of  the  stars  who  have  not 
hern  ;is  shrewd  in  safeguarding 
their  earnings'  Who  haven't 
saved  and  made  investments? 

This  is  a  throng  unnumbered. 
They  come  out  of  the  nowhere. 
Somebody  you  haven't  seen  foi- 
ls   around    Hollywood    will 
suddenly  bob  up  unexpectedly. 

I  think  that  1  know  in  all  a 
good  thousand  persons  who  at 
time  or  another  have  ap- 
peared on  the  screen.  I  know 
ami  hear,  too,  that  a  threat  many 
of   them  are  still   "amoi 

I  i:i."      I    often    wonder   how 

they  manaf 

ask.  for  it  is  a  difficult  thing  to  inquire  of  a  star  what  he  or  she  is  doing,  v. 
you  know  that  the  star  is.  >,,  to  speak,  '  pictures"— and  a  long  time 

betw( 

I  do  a  question  sympathetically,  anyhow,  and  the  answer  i-*  ah* 

bright    and    cheerful— much    more    so    than    you    might    be    led    to    im.v. 
ucntlv  it  is.  "Oh.  I  just  had  a  job  in  a  nice  two-reeler;  I  hope  you  will 
and   like   it."      Or.   "Oh,    I    just    made   a   picture    for   a    small    concern    for 
fun.      I'm   really   happy,   though,   because   it   turned   out    s,>   much   better  than 
I  imagini 

T!  .n    unfailing   optimism    to   movie    folk.      It    must  of    the 

prod  lnsbine. 


Pboto   I 

William    S.    Hart    looks    longingly    at    the 
audible  screen  for  a  fitting  comeback. 


is 


The  Heartbreak  Behind  The  Smile 


Only  a  few  years  ago 
H  e  1  e  n  e  Chadwick  was 
sought  for  more  engage- 
ments than  she  could  ac- 
cept. 


the  following:  Percy  Marmont,  Alary  Alden,  Theda  Bara,  Enid 
Bennett,  Sylvia  Breamer,  Hetty  Ross  Clarke,  Virginia  Lee  Corbin, 
Marjorie  Daw,  Elinor  Fair,  Georgia  Hale.  Walter  Hiers,  Gareth 
I  iii-lu-s,  Mary  MacLaren,  Mae  Marsh,  Marry  T.  Morey,  Jane 
Novak,  Lillian  Rich,  Monroe  Salisbury,  E.  K.  Lincoln,  Anita 
Stewart,  and  Ethel  Grey  Terry,  to  mention  but  a  few.  In  most 
.  1  can't  tell  you  when  I  saw  them  last  in  a  picture,  but  I  can 
say  what  they  are  doing,  in  a  few  instances. 

Percy  Marmont.  of  course,  has  been  in  England  for  the  past 
several  years.  lie  returned  to  this  country  to  make  two  films 
about  eighteen  months  ago,  one  called  "San  Francisco  Nights,"  and 
the  other  "The  Stronger  Will."  I  never  saw  them,  but  possibly 
you  did.      This   type  of   picture   seldom,   if   ever,   gets  a   first-run 

showing  in  Los  Angeles. 

Percy  Marmont  was  an  idol  when 
he  made  "If  Winter  Comes."  He 
was  a  high-salaried  idol,  too.  He 
was  smart,  I  believe,  and  saved  his 
money.  He  went  back  to  England, 
whence  he  came,  and  worked  there. 
But  he  slill  keeps  in  touch  with 
Hollyzvood.  Its  magic  is  irresistible. 
And  who  knows,  Marmont  might 
stage  a  comeback  at  any  moment! 
Keeping  his  name  before  Holly- 
wood is,  as  a  film  executive  might 
say,  not  bad  business. 

Theda  Bara  ?     She  is  married  to 
Charles  Brabin,  who  is  directing  pic- 
tures for  Metro-Goldwyn.     For  all 
practical    purposes,    one    might    as- 
sume she  had  quit  the  screen   for 
good.     But  why,  then,  the  name  in 
the    directory?      The   truth    of    the 
matter  is  that  Theda  still  loves  the 
world  of   make-believe.     She  loves 
also  to  talk  about  her  pictures. 
They    are    to    her    no    dreamy 
events  of  yesteryear ;  they  are 


Ruth  Roland's  long  absence  from  the  screen 

will  be  put  to  the  test  when  she  reappears 

shortly. 

There  is  a  move  on  foot  to  establish  a 
relief  fund  for  needy  people — directors, 
actors,  and  writers.  A  portion  of  the  char- 
ity work  will  be  confined  to  bracing  up  the 
spirits  of  the  downhearted. 

This  sort  of  aid  seems  hardly  necessary. 
The  morale  always  appears  so  very  high 
among  even   the   less   fortunate.     But,   of 
course,   there  is  a  lot  of  bold   front  about 
everything  that  is  done  in  the  colony. 
It  is  a  legend  that  you  can't  let  any  one 
believe  you  are  down  on  your  luck;  it 
is  likely  to  be  disastrous  to  the  chances 
you   have   of   getting   a   part   to   play. 
This  is  almost  a  superstition. 

So  the  bold  front  stays.  And  stars 
keep  going  socially  and  professionally, 
long  after  they  have  really  ceased  to  be 
the  significant  glitterers  they  used  to 
be  in  the  picture  theater. 

And  oh.  the  seductiveness  of  the 
camera  !  I  have  seen  a  girl,  at  a  gar- 
den party,  clamper  up  a  stairway  on 
crutches  just  to  be  photographed.  '  She 
saw  the  news-reel  camera  directed  on 
celebrities  descending,  after  she  her- 
self had  come  down.  And  she  couldn't 
resist  the  whir.  Painfully  she  made 
the  ascent  jusl  to  be  in  front  of  that 
clicking  box  once  again,  to  know  that 
her  face  bar'  been  registered  on  the 
film. 

My   face  on  the  film!     There  is  the 
beginning  and  end  of  all  life  for  the 
player  in  movieland!    And  the  heart- 
ks ! 

There  is  published  in  Hollywood  a 
directory  that  contains  the  names  of  a  majority  of  the  players.  It  is  a  veritable 
history  m  itself.  It  is  a  sort  of  catalogue  to  which  casting  offices  sometimes  refer. 
A  name  may  be  inserted  in  its  pages  for  a  small  fee.  There  are  larger  stipends 
for  full  and  half-page  advertisements  to  which  stars  resort  for  larger  attention. 
advertising  pages  often  scream  the  achievements  of  the  actor.  Generally, 
though,  they  are  dignified.  Frequently  they  comprise  photographs  of  the  player's 
various  roles,  particularly  if  he  is  thought  to  he  versatile. 

There  are  names  in  this  book  that  are  echoes  of  the  past.     Recentlv  I  ran  across 


Though    in    England,    Percy    Marmont 
keeps  hopefully  in  touch  with  Holly- 
wood. 


Colleen  Moore 
has  announced  no 
future  activities. 


The  Heartbreak   Behind  The  Smil 


nine 


19 


live  realities.  How,  after  all.  can  a  person  who  has  once  been  tur- 
bulently  active  settle  down  to  the  quiet  of  mere  domesticit)  ?  This 
is  the  lurking  problem  every  star  faces  who  once  has  tasted  sui 

.  though  he  or  she  now  lives  in  comfort. 
Douglas    Fairbanks  and    Mary    Pickford   announce,   almost   an- 
nually, that  they  expect  to  retire  from  professional  life.    They  tour 
around  the  globe,  to  Egypt,  China,  and  Japan.      They  move  rest- 
these  trips,  seeking  adventure  and  new  thrills.    Yet  ever) 
tune  they  return   to   Hollywood   with   renewed   enthusiasm.     The 

en  and  the  studio  remain  ever  enticing.     Doug,  perhaps,  is  less 

eptible  to  its  influence  than  Mary,  but  both  are  under  the  spell. 
They  won't  retire  as  long  as  there  is  a  picture  that  offers  the  least 

nation    for  either  of   them, 
rma  Talmadge,  Gloria  Swanson,  Charlie  Chaplin  will  go  on. 
It  is  in  the  blood.      The  large  fortunes  that   Norma  and  Charlie 

ake  them  impregnable.  They 
are  not  stirred  by  the  new  revolu- 
tion-.: they  make  their  own  pictures; 
they  are  the  envy  of  the  others.  Now 
that  talkies  have  come  in.  and  Char- 
lie cannot  talk  satisfactorily,  or  will 
not,  at  least,  he  proposes  to  form  a 
company  to  make  silent  pictures.  I  Te 
wants  to  restore  the  mute  art  to  the 
scree.-.  He  believes  it  can  survive. 
though  many  well-informed  persons 
with  him.  lie  may  lose  a 
fortune  in  the  venture.  But  Charlie 
apparently  wants  to  protect  his  si- 
lence. 

Talkies  are  making  havoc,  of 
course,  with  many  reputations.  Col- 
leen Moore  hasn't  worked  for  months. 
There  are  no  immediate  prospects  of 

ntract.     It  is  more  difficult,  some- 
times, for  the  popular  star  to  find  a 


Theda   Bara  advertises  in 
the  casting  directory. 


Corinne 
ished 


Griffith    has    fin- 
her  contract. 


It    is    improbable    that    Mildred    Davis    is 

immune    to    the    lure    of    recapturing    her 

fame    on    the    scm  n. 

place  than  the  newcomer.  Colleen  w;is 
making  $10,000  a  week  in  her  heyday. 
It  would  he  stepping  down  to  take  les<. 
Besides,  she  has  acquired  by  this  time,  it 
may  he  assumed,  the  semblance  of  a  for- 
tune. 

Where,  too,  is  Corinne  Griffith  going? 
She    has    left    First    National.      Both    she 
and  Colleen,  naturally,  have  the  option  of 
forming  their  own  companies.     Bui    fortunes 
and  prominence  have  been  lost  that  way;  wit- 
ness Charles  Kay's  experience. 

Vilma  Banky  has  not  worked  in  more  than 
a  year  for  Samuel  Goldwyn,  who  brought  her 
to  this  country  and  produced  her  pictures  in 
the  silent  days.  She  starred  in  "A  Lady  to 
Love,"  for  Metro-Goldwyn.  and  has  been 
favorably  received  in  that.  She  is  a  beautiful 
type,  rare  and  ethereal.  But  the  audible  drama 
has  not  been  too  kind  to  her  thus  far.  It  is 
difficult  to  obtain  the  proper  kind  of  storv.  ( iold- 
wyn  has  been  paying  her  a  salary  during  the 
year  of  idleness,  hut  what  of  that  ':  The  hcart- 
^  " """  break  is  not  working,  not  being  able  t<>  work. 

I'.mil  Jannings,  when  he  left  for  Eui 
carried  the  statuette  awarded  him  by  the  Acad- 
emy of  Motion  Picture  Arts  and  i  for 
the  best  performance  of  the  year.  He  was 
rated  the  greatest  interpreter  on  th< 
hut — there  was  !!■  for  him  in  the  Ameri- 
can studios,  grinding  out  song-and-dance  pro- 
That,  indeed,  was  an  incident  of 
inmic  pathos. 

tiding  on  the  sidelines— yes,  standi 
side  lines  one  way  or  another  !  The  hit- 
the  movie  "heartbreal  is  like  no  i 

bitterness!    "V 
wonder  that  most  of  the  stars  hand  this  about  as  a  byword.     But   tht  i  it  I 

To  be  sure,  then-  is  a  pleasant   side  to   all    this.      Star 
have  don-  late,  larj  of  the  tall 

There  is  Li!  ut"  a  few  \  who  is  now  kept  bu  intly. 

.  identified  only  with   Poverty   Row  pp  on  or  tv 

who   is   now   cast    in   bif  There   i-    Bessie    I  •  II,   who 

quit  the  studios  for  an  engagement  on  the   Fanchon  &  Mai  rcuit.     She  is  a   I 

winner  in  the  new  medium.    And  she  never  had  her  real  day  in  the  silent*. 


"-V. 


L«K 


Elinor  Fair  has  played  few  heroines 
since  "The  Volga  Boatman." 


20 


These    were    the    pictures    of    himself    that    Neil    Hamilton   brought   to   New  York  as   evidence   of  his  ability  to  act. 

I  Stop  To  Look  Back 

The  second   installment  of  the  autobiography  of  a    country   boy   who   became   famous    in   the   movies. 

By  Neil  Hamilton 


PART  II. 

AT  the  time  I  decided  to  leave  home  and  set  the 
world  on  fire  I  had  only  one  suit  to  my  name,  a 
light-gray  one.  In  order  to  create  the  impres- 
sion of  an  extensive  wardrobe,  I  had  a  picture  taken 
with  a  cap  on,  one  with  a  soft  hat,  then  without  the 
vest,  besides  changing  my  ties  four  times,  all  with  the 
same  suit.  The  combination 
achieved  by  the  hats,  ties, 
and  other  alterations  gave 
the  effect  of  several  complete 
changes.  I  wanted  each  one 
posed  in  a  striking  manner 
and  at  the  same  time  subdued, 
realizing  my  inability  to  act, 
but  I  also  wanted  to  avoid 
stiffness  in  the  photos.  So  in 
one  1  posed  as  though  I  were 
being  called  away;  another, 
thinking;  one  lighting  a  cig- 
arette: and  another,  reading. 

Finally  came  the  great  day, 
May  17th.  It  was  the  first 
long  trip  away  from  home  that 
I  had  undertaken  alone.  Al- 
though Xew  Haven  is  only 
two  hours  from  Xew  York,  it 
seemed  to  me  days  before 
reaching  the  end.  I  bad  never 
thought  of  spending  two  hours 

on  a  train  going  at  top  speed  anywhere.     It  assumed,  in 
my  eyes,  the  same  proportions  as  a  trip  to  California. 

As  the  train  goes  to  Xew  York  from  Xew  Haven,  it 
-  through  one  of  the  Iatter's  suburbs,  West  Haven, 
where  we  lived,  and   I  had  a  slight  sinking  sensation.     I 
was  homesick  already. 

Entering  Xew  York,  we  had  a  three-minute  wait  at 
the  125th  Street  Station;  and  as  T  looked  out  the  win- 
flow,  my  first  impression  was  of  miles  of  clotheslines. 
It  didn't  seem  possible  that  there  could  be  so  many 
linc^  and  clothes.  The  streets  were  thronged  with  what 
seemed  to  be  crowds  of  people.     It  was  impossible  to  get 


It  is  a  pleasure 

to  offer  Neil  Hamilton's  own  story  to  readers 
of  PICTURE  PLAY.  First,  because  it  is  enter- 
taining, informative  and  revealing  not  only  of 
the  writer,  but  of  the  movies  yesterday  and 
to-day. 

Secondly,  because  the  story  is  actually  written 
by  Mr.  Hamilton  and  is  published  exactly  as  it 
came  to  us.  It  captures  the  liveliness  and  humor 
of  his  conversation  as  nothing  written  by  an- 
other could  have  done. 

Best  of  all,  this  story  of  a  country  boy  who 
put  his  name  in  electric  lights  on  Broadway  is 
cheering,  inspiring  and  real. 

Last,  but  not  least,  there  is  nothing  in  it  to 
make  either  Mr.  Hamilton  or  our  readers  em- 
barrassed because  of  his  frankness. 


any  view  of  the  city,  as  tenements  rose  on  each  side  of 
the  track. 

Xeedless  to  say,  I  was  terrified  at  the  boldness  of  my 
undertaking.  Already  I  felt  squelched.  It  seemed  such 
a  preposterous  thing  that  I  should  come  to  this  vast  city 
crowded  with  thousands  of  people  who  were  familiar 
with  all  its  streets  and  buildings  and  occupations,  and 

still  had  not  been  able  to  ac- 
complish any  marked  success. 
As  I  got  off  the  train  with 
my  suit  case  and  walked  up 
the  platform  into  Grand  Cen- 
tral Station,  it  would  have 
taken  only  a  word  from  a  po- 
liceman, or  a  representative  of 
the  Travelers'  Aid  Society,  to 
send  me  home.  As  a  matter 
of  fact,  I  think  one  of  the 
bravest  things  I  ever  did  was 
to  leave  that  station,  for  I  felt 
horribly  alone  and  terribly 
frightened,  mostly  by  the  noise. 
One  steps  directly  from  the 
station  onto  42nd  Street,  one 
of  the  busiest  arteries  of  traf- 
fic in  the  city.  I  felt  exactly 
as  melodramatic  authors  have 
it — caught  up  by  a  whirlpool 
and  spun  around. 

Anyhow,  I  knew  where  I 
was  going— to  Fort  Lee.  I  had  learned  from  a  fellow 
in  Xew  Haven  how  to  reach  it.  He  told'  me  I  was  to 
get  to  Broadway,  and  then  take  the  subway  or  street  car, 
until  I  reached  125th  Street.  At  first  I  thought  Fort  Lee 
was  an  island  in  the  harbor,  all  bristling  with  guns,  and 
my  disappointment  was  keen  when  I  found  that  it  was 
a  town  in  Xew  Jersey,  and  did  not  boast-  one  gun. 

I  started  to  walk  from  Grand  Central  in  the  direction 
of  Broadway.  Of  course,  when  I  actually  stood  on 
Fifth  Avenue,  as  one  does  in  going  to  Broadway,  my 
first  thrill  came  when  I  realized  I  had  my  two  feet  on 
that  famous  thoroughfare.    This  was  the  first  thing  that 


I   Stop  To   Look    Back 


21 


ed  to  brighten  my  hopes,  or  rather  cheer  me  up.  At 
least  I  h.ul  achieved  the  distinction  that  none  of  the  boys 
back  home  had:  that  of  actually  being  <>n  Fifth  Avenue. 

1  continued  to  walk  past  Sixth  Avenue  and  under  the 
elevated  railway.  1  must  have  been  the  hickiest-looking 
hick  that  people  had  ever  seen,  for  I  remember  standing 
rooted  to  the  spot,  gazing  up  at  the  trains.  1  walked  on. 
and  it  seemed  that  it  I  walked  much  farther  1  would  be 
at  Fort  l.ee.  At  last,  still  contused.  1  sauntered  into  a 
cigar  store.      I   never  shall   forget  what    followed. 

The  clerk  had  his  hack  turned,  as  1  politely  inquired, 
.  you  tell  me  where  Broadway   is 

He  stopped  in  his  tracks,  looked  around  at  me.  and 
asked,  "What  did  you  say  :" 

I  repeated.  "I  am  looking  for  a  street  called  Broad- 
way." 

With  withering  sarcasm,  he  replied.  "You  poor  fish, 
you're  standing  on  Broadway  now  !" 

Without  waiting  for  further  comment,  I  grabbed  my 
suit  case,  rushed  out  of  the  store,  and  asked  a  policeman 
the  way.  He  politely  told  me  that  the  safest  way  to  gel 
to  125th  Street  was  to  get  on  the  Street  car  and  stay  on 
until  I  could  go  no  farther. 

Well,  on  the  way  uptown  I  passed  two  hands.  As  it 
was  still  morning,  ten  thirty  or  eleven,  I  was  amazed. 
I  could  not  wait  to  get  my  hands  on  pen  and  paper  to  write 
home  and  tell  them  what  a  wonderful  city  Xew  York  was;  that 
even  as  early  as  ten  thirty  hands  were  playing.  I  had  a  wild 
feeling  that  the  music  was  in  honor  of  my  arrival.  At  least, 
I  told  myself  this,  and  it  was  very  gratifying. 

One  gets  off  the  street  car  at  125th  Street  and  takes  the  ferry 
across  the   Hudson   River.     Here  was    I    at   last   hoarding  the 
ferrv  on  which,  many  months  before  in  a  movie  magazine,  I 
bad  seen  a  picture  of  Frank  Mayo.  June 
Elvidge,  and   Muriel  Ostriche  standing 
on  the  forward  deck. 

We    reached    the    Xew    Jersey    side, 
where  one  gets  a  trolley  for  Fort  Lee. 
I    told    the    conductor    that    when    we 
reached  the  town  I  wanted  to  be  put  off 
at    the    farthest    studio.      I 
bad  a  hunch  that  I  did  not 
want  to  get  off  at  the  first 
one  and  walk  to  the  last.     I 
felt  that  if  I  came  from  the 
opposite  direction  I   should 
have  a  feeling  of  being  one 
of  the  initiates. 

The  town  of  Fort  Lee  is 
built  on  several  hills,  with 
udio  on  the  crest  of  each 
one.  and  also  in 
the  valleys.    The 
one  farthest  was 
the  old  GoVdwyn 
studio.    I  bopped 
off  the  car  and 
noticed    a    little 
shop.     Thinking 
lily  the  • 

c  o  u  1  d 
tell  me  where  to  get 
room  and  board.  I  has- 
tened in.  It  was  warm, 
and  in  my  nervous- 
and  everything.  I 
very  hot.  Setting 
my    luggage    on    the 


It   was    two   years 
fore  Neil  found  a 
week's     work     as 
extra. 


By  accident  Neil  Hamilton  dis- 
covered that  he  could  eke  out 
his   precarious    income    by   pos- 
ing for  collar  ads. 


be- 
full 
an 


floor  and  pushing  hack  my  hat,  I  started  to  mop 
the  perspiration.  Lunching  at  a  table  wa 
priest.  Being  a  Catholic,  I  raised  my  hat  and 
said,  "Howdy-do,  father,"  to  which  he  paid  no 
ntion,  continuing  to  eat. 
The  thought  struck  me  that  this  was  a  curious 
place  for  a  priesl  to  he.  and  again  I  thought  that 
even  though  he  didn't  have  his  hat  on.  he  could 
at  least  have  acknowledged  my  salutation,  and  I 
took  one  good  look  at  him.  To  my  amazement 
and  complete  embarrassment,  I  discovered  he 
was  Alec  B.  Francis,  in  make-up.  A-  1  looked 
a  second  time,  he  had  evidently  told  the  young 
fellow  opposite  that  a  hick  had  mi-taken  him  for 
a  prie-t.  because  hi-  companion  was  staring  at 
me  with  a  broad  grin.     It  was  Rod  |UC 

inld  have  been  bought  on  tin-  spot  for  fifi 
cents.     Without   finding  out  what   I  had  conn-  in 
for.   T   grabbed   my   bag   and   ran.      '  II 

dream  then  t'  rk  with   Mr.  Francis 

years  later  in  "The  Music  Master." 

Finally  I   found  a  beautiful  room  in  a  priv   I 
owned    by   an    elderly   lady   who   did    not    ha vr   to 
roomers,  but   wanted  men   in  the 
the  nicesl   room   '  iccupied   in  ■ 

pillar  to  post  in  all  the  rooming  '  York 

and    elsewhere.      It    had    a    bath.  Uti fully    fur- 

nished, had  a  big  double  bed  and  ' ;  and  it 

•our  dollars 


22 


I  Stop  To  Look  Back 


I  was  overjoyed  to  Kara  that  the  man  who  lived  across 
the  hall  was  a  cutter  for  tlu-  Goldwyn  studio,  and  I  felt 
that  lie  could  tell  me  win  mi  to  see  and  what  to  do.  This 
he  very  kindly  proceeded  to  do.  So  next  day  I  started 
my  attack,  first  registering  at  the  World  studio. 

When  asked  if  I  could  ride,  dance,  swim,  and  fence, 
I  replied.  God  forgive  me.  "Oh,  yes,  very  proficiently." 
though  1  had  never  ridden  a  horse,  had  never  seen  a  foil, 
and  was  afraid  of  the  water.  If  they  had  asked  me  if  I 
could  fly  an  airplane,  or  make  parachute  jumps,  or  break 
wild  horses.  I  would  as  readily  have  said  yes  to  get  a  job. 

Xext  I  went  to  the  Fox  studio,  where  I  registered  ; 
to  the  Paragon,  where  Marshall  Neilan  was  directing 
Blanche  Sweet;  and  then  to  the  Goldwyn  studio,  the 
largest  of  them  all;  then  to 
the  Solax.  where  Maurice 
Tourneur  directed.  I  got 
no  promises  of  jobs,  hut 
this,  of  course,  did  not  mean 
a  thing.  I  was  prepared  to 
wait.  Didn't  I  have  fifty 
dollars? 

Xext  day  on  the  street  I 
saw  for  the  first  time  a 
company  making  exteriors, 
and  also  for  the  first  time  I 
saw  stars.  June  Elvidge  and 
Frank  Mayo.  T  shall  never 
forget  my  amazement  to 
find  she  had  green  over  her 
3.  T  asked  every  one  in 
the  crowd  what  that  was 
for.  and  was  finally  told 
that  it  made  her  eyes  photo- 
graph hetter.  Tmmediatelv 
I  bought  a  stick  of  green 
paint. 

Four  or  five  days  passed, 
and  T  finally  got  my  first 
call  to  report  at  the  Man- 
hattan Opera  House  at  mid- 
night in  full  dress.  If  they 
had  said.  "Be  at  the  top  of 
the  Woolworth  Building," 
I  would  have  as  cheerfully 
responded. 

My  friend,  Dalton,  the 
cutter,  bought  me  some 
more  .crease  paint,  and  the 
next  day.  being  Sunday,  he 
was  free  to  take  me  to  a 
shop  in  Xew  York  where 
they  rented  evening  clothes. 
Tt  co-t  me  S3. 50  to  rent  a 
suit.  $3.00  for  make-up. 
60  cents  for  car  fare,  and 
T  was  to  receive  $5.00  for 
my  work,  a  net  loss  of 
SI. in.  However,  it  was 
work. 

T  arrived  at  the  Manhattan  Opera  House  at  six  o'clock, 
to  he  sure  of  being  on  time.  The  reason  for  the  mid- 
night call  was  because  they  wanted  to  use  the  main  stair- 
way, and  of  course  they  could  not  do  so  until  the  audi- 
ence had  dispersed.  Midnight  finally  arrived,  and  I  was 
herded  into  a  room  with  about  three  hundred  men.  all  in 
evening  clothes.  It  was  the  first  time  I  had  ever  worn 
formal  dress.  J  discovered  to  my  surprise  that  there 
was  only  one  little  mirror,  and  then  noticed  that  each 
man  had  his  own.  I  had  neglected  to  purchase  one,  so 
decided  it  was  not  really  necessary.  T  spread  a  lot  of 
grease  paint  on  my  face,  in  and  behind  my  ears,  and  in 


Posing    for    magazine    pic 

practice  in  the  dramatic  s 

on  the 


the  roots  of  my  hair — as  I  had  read  it  was  necessary  to 
do — powdered  heavily,  used  plenty  of  rouge  on  my  lips, 
and  applied  mascara  with  a  generous  hand.  How  I  must 
have  looked ! 

Kitty  Gordon  was.  the  star,  Irving  Cummings  her  lead- 
ing man,  and  the  picture  was  "The  Scar."  The  session 
finally  ended  about  six  in  the  morning,  and  we  were 
dismissed.  I  felt  it  was  too  much  trouble  to  take  off  my 
evening  clothes  and  make-up;  so  I  just  packed  up  the 
clothes  I  had  arrived  in,  and  started  for  Fort  Lee  via  the 
subway.  And  to  say  that  I  was  a  curiosity  is  putting  it 
mildly.  Every  one  was  nudging  each  other,  looking  at 
me,  and  leaving  a  large  space  on  either  side.  I  suppose 
they  thought  I  was  a  maniac,  whereas  I  thought  I  was  a 

moving-picture   star. 

The  fifty  dollars  became 
forty ;  the  forty,  thirty ;  the 
thirty,  twenty ;  this  to  noth- 
ing, and  I  had  my  first  ex- 
perience in  being  broke. 

It  was  not  until  the  follow- 
ing September  that  I  knew 
there  were  any  studios  in 
New  York.  There  were  the 
Famous  Players  on  57th 
Street,  the  Pathe  on  127th 
Street  and  Second  Avenue, 
the  International  farther  up- 
town, the  Realart,  the  Bison, 
the  Elco.  the  Biograph  on 
174th  Street,  and  of  course 
the  Vitagraph  in  Brooklyn. 

That  summer  I  worked  in 
a  few  pictures,  among  them 
"The  Life  of  General  Persh- 
ing," directed  by  Richard 
Stanton ;  two  pictures  with 
Maurice  Tourneur,  one  called 
"Women,"  of  which  I  cap- 
tured my  first  still  from  an 
assistant  director ;  a  picture 
at  the  Wrorld  studio,  with 
John  Bowers,  directed  by  Del 
Henderson ;  one  with  Ger- 
aldine  Farrar,  called  "The 
Turn  of  the  Wheel" ;  and 
with  Guy  Empey,  in  "Over 
the  Top."  directed  by  Emil 
Chautard.  I  never  shall  for- 
get this  one,  because  we  were 
supposed  to  be  British  sol- 
diers and  at  a  given  signal 
we  were  to  go  over  the  top 
and  out  into  No  Man's  Land. 
Everywhere  out  there  were 
charges  of  dynamite  which, 
we  were  told,  would  be  ex- 
ploded after  we  passed.  I 
wasn't  going  to  take  any 
chances,  so  on  reaching  the 
top  of  the  trench,  and  immediately  in  front  of  the 
camera  and  not  ten  feet  away,.  I  died  very  gloriously, 
only  to  find,  to  my  horror,  instead  of  being  a  good  dead 
man  every  time  a  charge  of  dynamite  was  set  off  I  would 
leap  from  the  ground  two  feet,  at  which  all  the  direc- 
tors, the  assistants  and  the  camera  men  would  shout, 
"Lie  still !"  and  being  the  only  thing  in  the  foreground, 
the  effect  must  have  been  horrible.  It  had  taken  hours 
to  put  up  the  set  and  rehearse  the  actors,  only  to  have 
the  whole  thing  completely  ruined  by  the  spasmodic  leaps 
of  a  greenhorn.  The  next  night  the  assistant  made  sure 
that  I  was  miles  from  the  camera.      [Continued  on  page  104] 


tures    gave    Neil    Hamilton 
ituations  he  longed  to  play 
screen. 


Tkere,There  Don 

Perhaps   this   gifted   quintet   has   been   reading   "What    The 
Fans  Think."  and  tears  are  shed   for  those  whose  qua: 
fail  to  bring  photos  of  Greta   Garbo. 


Stuart  1 
below,  vows  that 
he  cries  w  li  e  n 
an)  one  says  be 
is  dumb,  but  we 
think  he 
clever  for  that. 


Helen    Kane,   above,    who   makes    her 
me  by   crying,   ^''ve*   ready   tears 
to  any  and  all  who  request  them. 

Lillian    Roth,    below,    sheds   tears    of 
sympathy  when  Nancy  Carr«jll>  child 
nentioned    in    print,    because    she 
kn  '   like  it. 


Jean    Arthur,    above,    thinks    that 

sad    new-    over    the    telephone    is 

more  evocative  of  tears  than  when 

it    i-   handed   out    in    person. 

Nancy    Carroll 

little  Irish  sentimentalist,  for  noth- 
ing mor<    touching  than  somi 
singing  "The  Last  Rose  of  Sum- 
mer" will  -ct  her  tear  duct-  . 


! 


21 


Ho\tf  To  Live  On  Nothing  In  Holly  vtood 

Strange  to  say,  it  can  be  done,  but  it  requires  nerve  and  endurance  to  be  what  is  humorously  called  a 
couch  guest,  and  the  rules  of  this  curious  occupation  won't  be  found  in  any  book  of  etiquette. 


B?  Carroll  Graham 


Illustrated  by  (Lui  ^rugo 


WHAT  a  break  the  middle  class  of  movie  workers 
got,  when  the  pioneers  of  the  drama-canning 
industry  located  its  factories  in  balmy  southern 
California  instead  of  on  the  shores  of  Hudson's  Bay,  or 
in  the  suburbs  of  Nome,  Alaska ! 

It  is  generally  warm  and  sunny  in  Hollywood — and 
I'm  not  trying  to  sell  real  estate,  either.  Even  when  it 
rains,  the  downfall  is  about  the  temperature  of  cafeteria 
coffee.  So  that  sleeping  in  Griffith  Park  is  actually 
pleasant  in  summer  and  endurable  in  winter,  if  your  suit 
doesn't  shrink. 

All  of  which  leads  us  to  the  art  of  being  a  Hollywood 
couch  guest,  an  art  which  is  highly  developed  and  ex- 
tensively practiced  in  that  section  of  Los  Angeles  re- 
ferred to  by  the  city's  more  lucid  residents  as  the  violent 
ward. 

It's  nothing  to  be  out  of  work  in  the  movies.  Our 
best  people  do  it.  Consequently,  a  jobless,  homeless 
soul  is  not  looked  upon  there  with  as  much  disfavor  as 
he  is  elsewhere. 

And  who  knows?  That  guy  who  put  the  finger  on 
you  for  a  meal,  and  camped  in  your  apartment,  may  be 
in  the  big  dough  a  month  from  now,  with  you  wearing 
out  your  knickers  in  his  outer  office. 

Laymen  who  have  never  been  in  the  land  of  the 
muttering  snapshots  regard  Hollywood's  residents  as 
consisting  of  but  two  general  classes,  this  belief  hav- 
ing been  well  nurtured  by  sob  sisters  and  viewers- 
with-alarm. 

One  class  consists  of  stars  and 
directors  who  live  in  purple  man- 
sions, eat  caviar  for  breakfast, 
change  wives  and  shirts  simultane- 
ously, and  are  carried  to  the  studios 
on  the  necks  of   Nubian  slaves  to 

collect   their  $30,000  a  week. 

The     other     class — according     to 
popular  legend — consists  of  hollow- 
cheeked,  starving  extras,  who  exist 
on  two  meals  a  day.  mourn  for  their 
happy    homes    iii    Kan- 
sas, and  lurk  about  the 
studio     gates     begging 
erupts     of     bread     and 
drug-store  gin. 

The  popular  idea  of 
both  classes  is  remotely 
near  the  truth.  There 
are  stars  who  make 
more  in  a  week  than 
mosl  of  ns  do  in  five 
years.      And    there   arc 


Directors  are  supposed  to  be 

borne  to  work  on  the  backs 

of  Nubian  slaves. 


A^ 


-. 


plenty  of  hungry  extras,  too,  but  plumbers,  news- 
paper men,  and  magazine  editors  have  been  known  to 
miss  meals. 

But  popular  fancy  has  always  overlooked  the  great 
middle  class  of  Hollywood,  which  never  gets  much  at- 
tention anyhow,  either  in  the  City  of  Pecans,  or  in 
Joplin,  Missouri, 

The  g.  m.  c.  consists  of  minor  actors,  down-at-the-heel 
scenarists,  gag  men,  comedy  directors,  press  agents, 
camera  men,  assistant  directors,  and  gents  and  ladies 
with  all  manner  of  petty  Hollywood  rackets. 

When  they  work  they  live  high,  wide,  and  occasionally 
handsome.  When  they  lie  around,  they  huddle  to- 
gether in  bands  of  four  and  six  and  indulge  in  polite 
panhandling. 

Being  a  Hollywood  couch  guest  is  a  well-established 
custom.  It  entails  a  fairly  comprehensive  list  of  ac- 
quaintances, but  any  one  who  has  lived  there  six  months 
has  that  anyway. 

It's  as  easy  to  make  friends  in  Hollywood  as  it  is  in  a 
speak-easy  at  three  a.  m. 

You  call  a  man  by  his  first  name  on  first  meeting. 
He's  '"pal"  the  second  time,  and  he  borrows  money  from 
you  the  third — if  you  don't  beat  him  to  the  punch.  And, 
boy,  they're  quick  on  the  draw  out  there ! 

A  gag  man — one  of  those  sad-eyed  witsters  who  makes 
his  living,  when  he  makes  it,  by  sitting  on  a  comedy  set 
and  remembering  the  funny  things  Harold  Lloyd  did  in 
his  last  picture — recently  gave  me  a  complete 
course  in  applied  Hollywood  couch  guesting. 
He's  one  of  the  runners-up  for  a  city-wide 
championship  at  it  and  once  ran  up  a  record 
of  seventeen  nights,  without  repeating  on  the 
beds. 

"Pick  your  spots  carefully."  he  told  me  in 
an  exclusive  interview,  speaking  with  that  mod- 
esty born  of  true  greatness. 

"That's  important.  Drop  in  about  five 
o'clock — just  to  stay  a  minute,  you  know. 
You'll  be  in  time  for  a   few  cocktails  before 

dinner.  Get  to  talk- 
ing excitedly  about 
s  o  m  e  t  h  i  n  g  —  how 
good  your  host  is 
in  pictures,  prob- 
ably— and  forget 
how  late  it  is. 

"Dinner  will  be 
kept  waiting  all  this 
time,  and  pretty 
soon  they'll  get  so 
hungry   they'll    ask 


HoW  To   Live   On   Nothing  In   Hollywood 


you  to  eat  with  them  so  they  can  start,     ["hat's  the 
first  victory. 

"Help  wash  the  dishes.  That  always  sots  you  in 
with  the  wife.  Generally  with  the  husband,  too,  be- 
cause she'd  probably  make  him  wipe  them  if  you 
weren't  there.     That's  victory  number  two. 

"After  that  comes  the  big  test.  You  gotta  be  good 
from  here  on.  Start  on  some  big  subject,  or  get  the 
victim  started.  If  you  do  the  talking,  he  funny. 
You're  sunk  if  they  yawn. 

"Along  about  eleven  o'clock  get  the  yap  started  on 
the  Story  of  his  life.     It  can't  miss.     Then,  after  mid- 
night, glance  at  your  watch — if  it  isn't  in  hock — and 
.  '1  had  no  idea  it  was  so  late!      I've  missed  the 
■_ir !' 

"Then  it's  a  cinch  for  them  to  say.  'Why  don't  you 
sleep  here  on  the  davenport  to-night?'  Object,  hut 
not  too  much. 

"It's  in  the  bag,  then,  for  the  night.     And  her* 
another  angle.     Pick  a  guy  who  works  on  the  set — 
an  actor,  or  a  camera  man.     They   have  to  get   up 
early.     These  mugs  in  the  production  offices  never  show 
up  till  eleven.     The  reason  is  this.     Those  davenports 
are  not  so  comfortable.     Most  of  them  are  too  short. 
If  the  chump  and  his  wife  have  to  get  up  early,  you  can 
crawl  into  the  real  bed  and  knock  off  a  couple  of  good 
hours  of  hay. 

"Here's  another  important  point.  When  you  get  up 
in  the  morning,  never  ask  for  a  clean  shirt.  Start  fum- 
bling around  in  the  bureau.  He'll  say.  "What  are  you 
looking  for?'  You  say,  *A  nail  file.'  Then,  before  he 
has  a  chance  to  tell  you  where  it  is,  you  exclaim, 
'Well,  isn't  this  a  break?  Here's  a  shirt  just  my  size. 
It's  probably  too  small  for  you  anyway.'  Put  it  on 
quick. 

"Now  at  breakfast  start  babbling  about  an  appoint- 
ment with  a  director  or  somebody  in  Culver  City,  and 
make  'em  think  it's  a  big  shot.  When  you  start  to  leave, 
fumble  around  a  minute  and  discover  you  haven't  got 
carfare.  He'll  give  it  to  you  for  two  reasons.  First, 
u're  telling  the  truth,  you  may  get  a  job  and  pay 
him  what  you  owe  him.  Second,  if  he  doesn't  give  it 
to  you.  you're  likely  to  be  in  his  apartment  when  he 
conies  home  that  night. 

"Of  course  you  don't   go  to   Culver   City,   and   that 
solves  your  lunch.     Then  you  can  grab 
another  spot  that  night." 

Another  angle  of  the  living-for-noth- 
ing-in-Hollywood  racket  was  developed 
bv  an  actor  who  had  an  income  suf- 
ficient to  pay  the  rent  of  a  small 
apartment,  but  no  way  to  stock  it  with 
food  unless  he  worked.  But  he  was  a 
genial  soul,  very  generous  in  lending 
the  apartment  to  friends  who  wanted  to 
play  on  their  night  away  from  home. 

The  errant  husbands  would  arrive 
with  a  bottle  blonde  and  a  bottle  of  gin 
— funny  they  so  often  go  together — and 
the  actor  would  greet  them  like  a  wel- 
come to  Lindy  and 
Anne. 

"You'll  want  some- 
thing   to    mix    with 
that  gin.*'  he  would 
when   the   daffy 
soup  w-  1  to 

view.  "I'll  phone  the 
drug  store.  They'll 
deliver." 

And  how  he  would 
telephone !    Not  only 


The   prospective   couch   guest   is   advised  to   help   with 

dishes. 


the 


would  he  order  a  case  of  ginger  ale,  hut  he'd  call  for 
a   dozen    siphons    of    seltzer,    a   carton    of    cigarettes,    a 

basketful  of  sandwiches,  tooth  paste,  shaving  cream, 
magazines,  hair  tonic,  and  whatever  else  he  happened 
to  be  out  of  at  the  time.  The  errant  husband  couldn't 
dodge  the  bill  in  front  of  the  blonde,  and  the  joint  was 
Stocked  with  essentials   for  another   week. 

But  this  wasn't  all  of  his  racket.  Hollywood  drug 
stores — as  they  do  elsewhere,  doubtless — demand  a  dol- 
lar deposit  on  seltzer  siphons.  The  errant  husband  could 
hardly  lug  off  the  empties  that  night,  and  next  morning 
the  actor  would  turn  'em  in  for  the  deposit. 

At  last  reports  he  had  his  apartment  booked  solid  for 
six  nights  a  week  and  had  practically  retired  from  the 
screen. 

Another  Hollywood  racketeer — also  an  actor,  whose 
lisp  didn't  go  so  big  in  the  talkies — discovered  a  neat  way 
of  picking  up  money.  He  found  a  press  agent  who  had 
convinced  his  wife  that  the  Wampas — an  organization 
of  movie  publicity  men,  in  case  you  don't  know  nut 
twice  a  week.  Consequently  he  was  away  from  home 
every  Tuesday  and  Friday,  for  purposes  we  will  not 
into  just  now. 

It  was  an  easy  matter  for  the  racketeer  to  extract 
hush  money  from  the  press  agent — 
for  a  while.  But  he  was  like  the 
egg  that  owned  the  golden  goose,  or 
however  that  old  crack  goes.  The 
wife  wasn't  so  bad  at  all,  if  you 
didn't  mind  them  dumb,  and  the 
racketeer  began  to  float  around  to 
the  house  on  the  husband's  nights 

off. 

Tt    wound    up   with    the    husband 

trying  to  keep  a  straight   face  while 

he  told  it  to  a  judge,  with  an  air  of 

outraged   im  and   the   rack- 

r  playing  th<  '  role  of  his 

if  snake  in  tl 

rived    of    his    lu- 
crative,    if     somewhat 
uliar.     income,    the 

now  tin 
hack     on     his    own 

and     is    eking 
a   miserabli 

'  the  man 
in  the  advertisements 
wh'  '   friends 

won't  till  him.     But 
he  :  to  live. 


Sleeping    in    the    parks    of    Holly- 
wood   is    pleasant    in   summer    and 
endurable     in     winter,     if     couch 
guesting  fails. 


20 


Page  Helen  Morgan! 

The  famous  singer  of  torch  songs  started  the 

epidemic    of    girls    who    leap    atop    a   piano    to 

sing,  but  with  results  that  do  not  equal  those 

of  the  original. 


Lola  Lane,  below,  puts  herself  thoroughly  at  ease  for  the 

accompaniment  of  Dave  Stamper,  noted  composer  of  popular 

melodies,  and — but  you've  heard  Lola  sing,  haven't  you? 


Budd)    Rogers,  above,  is  willing  to  play  any  song 

Kathryn  Crawford  wishes,  but  she  shows  no  sign 

of   obliging  with   a   number   in   keeping   with   her 

position. 


"I  Don't  Want  Your 
Kisses,"  sings  Elliott 
Nugent,  right,  to 
Phyllis  Crane,  who  is 
seated  where  she  can 
hear    him    the    better. 


th,  above,  take-  her  un- 
conventional place  with  gingerly  dar- 
ing, a-  if  wondering  about  tin-  pro- 
priet)  uting    a    tap   dance,    in 

"Lilies    of    the    Field." 


Suck  Men  Get  There 

And  Robert  Montgomery  is  one  of  them.     Not  by  luck,  not  by  mere 

hard  work,  not  because  of  pull  is  he,  of  all  newcomers  from  the  stage, 

best   liked  by  the  fans.     And   this  article   tells   why. 


A 


B$  William  H.  McKegg 

STAGE  player  finding  himself  three  thousand  miles  from  his 


Robert  Montgom- 
ery's first  ambition 
w.is  to  write,  .m<l 
he  shipped  on 
tramp  itaamon  in 
lean  ii  oi  matei  lal. 


in  a   new   medium,   discovers   much   to 
to  face  so  many  methods  strange  to  Ins 


home   town,   working, 
think  about.      1  fe  has 
former  existence. 
Robert   Montgomery,   for  instance.     Bob  has  crashed  through   in 

pictures  in  a  way  to  make  most  of  the  Stage  luminaries  cast  a  specu- 
lative, not  to  say  slightly  greenish,  eye  in  his  direction  and  wonder 
how  come. 

In  the  fourteen  months  he  has  been  in  Hollywood.  Bob  has  made 
nine  talking  pictures.  The  list,  if  you  are  one  of  those  hounds 
detail,  includes  "So  This  Is  College."  "Three  Live  Ghosts,"  "Un- 
tamed," opposite  Joan  Crawford,  "Their  Own  Desire,  opposite  Norma 
-  .-."  "Father's  Day."  "The  Divorcee,"  again  opposite 
arer,  "The  Big  House."  and  "Our  Blushing 
Brides,"  again  opposite  Joan  Crawford.  Two  pictures  with 
Norma  and  two  with  Joan.  Significant,  isn't  it,  that  two 
of  the  important  stars  have  asked  for  encores  by  Mr. 
Montgomery? 

Bob  should  have  some  idea  what  it  is  all  about — and  don't 
think  he  hasn't.     He  appeared   for  the  interview  in  mud- 
spattered  riding  clothes  and  with  tousled  hair.     His  baby- 
blue  eyes  and  naive  smile  belie  the  intelligence  that  is 
behind  them. 

"Life  weaves  its  patterns  for  us  pretty  cleverly," 
he  vouchsafed,  by  way  of  beginning.  "I  fought  off 
the  movies  for  months  and  months  and  yet.  all  of  a 
sudden,  here  I  am  in  Hollywood,  right  up  on  the 
bandwagon  rooting  for  them  with  all  my  might.  Nine 
finished  in  a  little  over  a  year,  and  I  can't  wait  to 
get  the  next   fifty  done." 

"Hooray !"  said  I,  "but  what  do  you  mean,  you 
fought  them  off  for  months  and  month-:' 

"That    does    sound    rather    conceited,    doesn't    it  ?" 
said  Bob.  "but  it  isn't,  really.     You've  no  idea  what 
it  was  like  in  New  York  when  talkies  first  came  in. 
They  were  signing  up  actors  at  the  rate  of  twenty-five 
and  thirty  a  day.  and  it  wasn't  just  some  days — it  was 
every    day.       Casting    directors, 
agents,    friends    of    producer — 
every  one  you  could  think  of — 
were  calling  up  everybody  on  the 
stage,  at  all  hours  of  the  day  and 
night,  and  wanting  to  sign  them. 
I  had  just  begun  to  be  recognized 
on  the  stage,  and  T  wasn't  anx- 
ious to  leave  it.     I  loved  the  the- 
ater and  the  movies  had  always 
seemed  unreal  to  m< 

"Well,  feeling  that  way.  what 
decided  you  on  the  fateful  sti 
I  p< 

'icholas  Schenck  saw  me  on 
the  stage  in  '  ion,'  in  which 

I  made  my  biggest  hit.     Nothing 
would  do  but  I  must  m: ' 
for  him.     Finally  he  told  me  if 
I'd   make  the  test    T   could  have 
a  print  of  it.     I 

thought  it  would  Bob  Montgomery 
be  fun.  SO  I  made  wjh  go  to  the  bat 
it.    They  shipped      for    a    friend    any  day 


i 


*-**zMMr  1'1  a; 


test   out   to    Hollywood   and    I 

a  wire  offering  me  50  much   to 
play  opposite  Vilrna  Hanky,  in  "This 
Heaven,'  that   I   couldn't  turn  it 
down." 

"But  you  didn't  work  in  that  pic- 
ture." I  objected. 

"Who's  telling  this  story?"  Bob 
demanded,  absent-mindedly  eating 
my  salad.  "Samuel  Goldwyn  gave 
me  a  six  week-,'  guarantee  for  that 
picture  and  took  a  five-year  option 
"ii  in;,  i,  without  ever  having 

made  a  tesl  of  Vilma  and  me  to- 
gether. When  I  signed  the  i 
incut,  the  idea  was  that  it  was  to  be 
an  all-talking  picture.  When  the 
time  came  to  shoot  it.  they  had  de- 
cided to  make  it  one  of  i],,,^,-  hybrid 
affairs  that  had  a  few  talkii 
quences  in  them.  That  didn't  fa- 
me at   all. 

i  d  from  the  contract.     They 
paid    me   my    six 
and  agreed." 

Idy,   buy   me   a   contract    like 
that."  I  pleadi 

"Shut   up'"  id,  grinning. 

"The   next    thing    that    ha; 

L'ot    a    wire    from    M  •  hirh 


28 


Suck  Men  Get  There 


At    first    Mr.    Montgomery    hated    Hollywood,    but 
now  he  is  all  for  the  movies. 


Nine  pictures  in 
fourteen  months  is 
Robert  Montgom- 
ery's enviable  rec- 
ord. 


topped  Goldwyn's. 
Mr.  Schenck  was 
determined  that  I 
should  go  into  pic- 
tures, and  when  I 
got  my  release  from 
the  Goldwyn  contract,  he  sent 
the  test  he  had  made  of  me  to 
M.-G.-M." 

Some  people  are  horn  lucky, 
some  achieve  luck,  and  for  a  few 
Lady  Luck  rides  heavily  on  their 
shoulders.     Can  you  heat  it? 

"At  first,"  Bob  went  on,  "I 
hated  Hollywood.  I  hated  the 
studios  and  everything  connected 
with  them.  And  it's  no  wonder. 
On  the  static,  when  you  rehearse 
everything  is  quiet  as  a  tomb, 
and  every  one's  attention  is  cen- 
tered on  just  one  thing — the  per- 
formance.    If   a  charwoman  so 


much  as  clanked  a  pail  she'd  be  thrown  out.  The 
scenery  is  built  miles  away  and,  even  when  the  play 
starts,  it  is  set  up  during  intermission  when  the  actors 
aren't  on  the  stage." 

"I've  seen  some  plays  that  weren't,"  I  observed 
brightly. 

"If  that's  supposed  to  be  a  pun,  it's  rotten,"  he  re- 
torted. "I  could  do  better  myself  and  I  don't  even  like 
puns.  When  I  came  out  here  it  was  like  working  in  a 
boiler  factory.  Can  you  imagine  trying  to  work  out  a 
symphony  in  a  foundry?" 

"I'm  not  interested  in  symphonies,"  I  observed 
stiffly. 

"No,"  said  Bob,  'ryou  wouldn't  be.  Well,  wdiile 
you're  trying  to  rehearse  a  scene,  an  electrician  calls 
down,  'Mr.  Montgomery,  would  you  mind  standing  a 
little  to  the  right  ?'  and  you  move  over  and  try  not  to 
pay  any  attention  to  the  interruption.  Then  a  camera 
man  says,  'You'll  have  to  stand  more  to  the  left,  or  I 
can't  get  you  in  this  shot — you're  out  of  focus.' 

"And  there  is  a  running  obbligato  to  all  this  of  car- 
penters putting  up  sets,  prop  men  playing  cards,  'grips' 
telling  jokes,  and  publicity  people  coming  in  every  time 
you  aren't  speaking  a  line,  trying  to  arrange  portrait 
sittings,  gag  pictures,  personal  appearances,  and  in- 
terviews. I  nearly  went  cuckoo." 
"Nearly?". 

"Takes  one  to  know  another,"  said  Bob,  quite  un- 
perturbed. "After  a  while  you  get  used  to  it,  but  I 
honestly  think  that  the  conditions  under  which  they 
worked  had  a  lot  to  do  with  so  many  stage  actors 
failing  to  get  across  in  pictures.  I've  become  so 
accustomed  to  it  now  that  I  don't  pay  any  attention  to 
it,  but  I  certainly  sweat  blood  at  first,  I  can  tell  you." 

What  he  didn't  tell  me  is  that  he  is  one  of  the  few 
people  in  the  theater  with  a  sense  of  gratitude.  While 
he  was  playing  in  "Possession,"  one  of  those  contre- 
temps arose  that  makes  life  interesting  in  the  theater. 
Just  before  the  curtain  rose  one  evening,  the  phone 
backstage  rang,  and  a  voice  announced  that  the  late 
Margaret  Lawrence,  the  star,  would  not  appear  for 
the  performance.  Her  understudy  stepped  in  and 
played  the  part  that  night.  But  the  understudy  had 
previously  handed  in  her  notice  so  she  could  join  an- 
other cast.  The  manager  called  on  Mary  Boland  to 
finish  the  run.  Miss  Boland  agreed,  read  the  play, 
didn't  like  it,  and  regretfully  decided  against  stepping 
into  the  role. 

And  that's  when  Bob  showed  that  the  milk 

of  human  kindness  doesn't  always  curdle.     He 

had  made  a  great  hit  in  the  play  and  had  had 

numerous  offers.     If  the  play  closed,  he  could 

accept  one  of  them  and  get  a  sec- 

>  ond    showing    on    Broadway    the 

same  season.     But  closing  the  play 

meant    throwing    the    rest    of    the 

cast  out  of  work,  and  it  also  meant 

that  the  producer  who  had  given 

him  his  chance  would  be  out  the 

cost  of  the  production. 

Bob,  who  had  never  met  Miss 
Boland,  took  it  upon  himself  to 
call  upon  her  at  her  home.  He 
appealed  to  her  sense  of  sports- 
manship. From  twelve  to  two 
in  the  morning  they  argued,  dis- 
cussing and  planning  how  her 
role  should  be  played.  Next  day 
she  phoned  the  producer  and  told 
him  she  would  be  ready  when  the 
understudy  left. 

Continued  on  page  113 


29 


If  At  First— 

That's    Eddie   Nugent's   motto   when   trying    to   wash 

his  dog,  though  he  admits  he  never  quite  concludes 

it  with   a   flourish   of   the  brush. 


Eddie  begins,  below,   by  politely  explaining   to  his   dog   how   much 
it  will  do  the  animal  to  have  a  nice,   soap)    bath  and   what  a 
lark  it  will  be,  but  all  he  gets  is  a   limp  paw. 


You  never  know,  says  Eddie,  above, 
when  the  beast  will  take  it  into  his 
head  to  bolt  and  leave  you  with  all 
your  pains  for  nothing, 
to  ^-rab  hold  of  him  while  the  v:rab- 
bing's   i>  ■  sible. 


Mr.    Nugent,    left,    finds   himself   at   a 
disadvantage   when   his  dog  decides  to 
become   affectionate    and    hel| 
means  <<i  impersonating  a  clinging  vine 
to  avoid  soap  and  water. 


even.  ^at 

getting  the  animal'^  hind  l< 


30 


fjhe3 


Photo  by   S'-rly 

Laura  La  Plante  has  been  enjoying  a 
vacation  in  New  York. 


FOR  years  I  have  tried 
to  convince  Fanny  the 
Fan  that  she  is  an  ex- 
tremist   in    her    interest    in 
motion     pictures.       Indeed, 
after  thai  fateful  day  when 
she    dragged    me    to    three 
films  in  one  afternoon,  with 
only    a    dash    in    a    taxicah 
from  one  theater  to  an- 
other by  way  of  inter- 
mission.   I've  strongly 
advised    her    to    see    a 
psychiatrist,     or     take 
up  some  good,  health- 
ful   exercise   like   tid- 
dly-winks. 

"I  .ook  around  you," 
I've    counseled    her.      "You 
don't     see    other    little    girls 

making  gluttons   of   them- 
selves, do  you ?" 

At  first  she  only  bom- 
barded me  with  clippings 
that  informed  me  that  Col- 
leen Moore  and  I. aura  1  .a 
Plante  had  seen  Lawrence 
Tihhett,     in     "The     Rogue 


You  will 
never  see 
Winnie  Light- 
ner  at  a 
first  night. 


Song,"  umpty-ump  times.  Just  the  other  day  my  phone 
rang  in  what  seemed  the  middle  of  the  night.  It  was  Fanny. 
"Come  right  over,"  she  urged.  "They've  decided  to  open 
Locw's  State  Theater  at  eight  thirty  every  morning.  You'll 
never  believe  me  until  you  see  with  your  own  eyes.  There 
are  simply  mobs  of  people  who  get  up  bright  and  early  and 
go  to  pictures." 

"They  may  get  up  early,"  I  retorted  sleepily,  preparing 
to  dive  back  into  bed,  "but  they  can't  be  quite  bright." 

It  wasn't  more  than  two  hours  later  when  she  telephoned 
again.  Then  she  arrived  in  person  and  simply  dragged  me 
out.  I  was  rushed  from  the  Rialto  to  the  Strand,  from  the 
Paramount  to  the  Roxy,  with  a  brief  pause  at  the  Winter 
Garden.  Eventually  I  balked.  In  cool,  firm  tones  I  told 
our  taxi  driver  to  take  me  to  the  Ritz,  regardless  of  where 
she  wanted  to  go.  I  chose  the  Ritz  because  one  can  have 
tea  served  in  the  anteroom  where  there  are  big,  comfortable 
chairs. 

She  glared  at  me  silently  for  a  few  minutes,  and  then 
launched  forth. 

"I  was  only  trying  to  fortify  you  against  starvation  clays 
ahead,"  she  said  resignedly.  "You  probably  don't  realize 
it,  but  motion  pictures  are  threatened  with  a  blight.  Not 
the  boll  weevil,  but  that  old  zealot  Will  Hays  is  on  a  ramp- 
age. And  if  anybody  pays  the  slightest  attention  to  his 
new  list  of  'don'ts,'  the  screen  is  going  to  be  just  too 
Elsie  Dinsmore  for  anything. 

"He's  all  worked  up  over  underworld  heroes  and  pro- 
fanity and  gilt-edged  sin,  and  he's  simply  determined  to 
allow  no  more  of  them  in  pictures." 

"Dear,  dear,"  I  yawned,  "hasn't  he  heard 
that  motion  pictures  aim  to  be  entertain- 
ment ?" 

"It  was  bad  enough,"  Fanny  went  on 
viewing  with  alarm,  "when  he  stood  guard 
over  the  private  lives  of  players  and 
wouldn't  permit  them  eight  or  ten  infrac- 
tions of  his  moral  code.  But  now  that  he 
won't  even  allow  them  to  have  any  fun  in 
pictures,  something  will  have  to  be  done 
about  it." 

She   sighed   heavily.      I   could    see   that 

she  was  worrying  about  the  fate  of 

Lowe    and    McLaglen,    of    Lilyan 

k  Tashman  and  Fifi  Dorsay  and  Wil- 

I         .  liam  Powell  and  all  the  others  who 

t  are  most  interesting  when  they  are 

most  abandoned. 

"It's  just  as  well,"  she  went  on, 
"to  see  a  lot  of  pictures  now,  any- 
way, because  there  are  so  many  new 
players  coming  to  the  screen  that 
some  of  the  old  favorites  are  bound 
^o       to  get  lost  in  the  shuffle." 

I  knew  who  one  of  the  new  ones 
was  without  asking.  Fanny  and  I 
had  wept  in  gusty  unison  all  through 
a  matinee  of  "Death  Takes  a  Holi- 
day," and  had  come  out  of  the  thea- 
ter wondering  how  pictures  had  ever 
overlooked  any  one  as  endearing  and 


:;i 


caa/ps 

Fanny  the  Fan  gives  a  pass- 
ing glance  to  newcomei>  in 
pictures,  buries  a  hate,  and 
confesses  to  a  shattered 
illusion. 


Rose  Hobart,    The  very  next  day  we 
had  learned  that   for  the  past  two  wars  she 
h;ul  been  turning  down  offers  to  go  into  pic- 
Every  time  she  opened  in  a  play,  some 
manager  came  along  with  another  manuscript 
that   she   liked,   and   she   postponed   the   uncer- 
tainty oi  the  screen  for  her  assured  succi  - 
the  stage.    And  then  Fox  decided  that  she  was 
the  girl  to  play   in  "Liliom,"  as  long  as 
Gaynor  wouldn't  do  it.     The  chance  of 
g   directed  by   Frank  Borzage  in  her  very 
first  picture  was  too  much   for    Miss  Hobart. 
so  she  accepted.     After  "Liliom,*'  she  expects 
to  make  a  picture  for  Universal,  and  then  she 
ming  back  to  New  York  to  open  in  a  play 
in  October. 

On  the  stage  she  looks  quite  fragile,  but  in 
real  life  she  is  a  gay,  breezy,  outdoor  person. 
With  her  talent  and  Borzage's  direction,  she  is 
bound  to  be  a  knock-out. 

"Of  course,  Marie  Saxon  isn't  entirely  new 
to  pictures,"  Fanny  admitted.  "She's  just 
1  a  contract  with  Fox,  but  she  made  a 
picture  for  Columbia  a  while  ago.  She's  new 
as  far  as  I  am  con- 
cerned, though,  be- 
cause I  never  could 
find  that  picture  any- 
where. 

"I  used  to  go  to 
see  her  in  musical 
comedy  and  thought 
her  delightful.  The 
way  she  dances  will 
make  you  want  to  go 
out  and  gambol  on 
the  green.  She  sim- 
ply flutters  through 
the  air — not  on< 
those  chasing-a-but- 
terfly  aesthetic  danc- 
but  a  strictly 
vo-de-o-do  type  with 
real  grace.  Xext  to 
Marilyn  Miller,  she's 
the  nearest  to  a  hu- 
man zephyr  that  I've 
ever  seen. 

"And  this  Marlene 
Dietrich  that  Para- 
mount has  imported 
from  German 
most  attract; 
Fanny  went  on.  with 
enthusiasm. 
not  the  doll- 
faced  ingenue  type- 
Nancy  Carroll  may 
come    East    to    make 


a    picture. 

Fbau  bj  in  u 


Marie  Saxon  will  lend  her  airy  grace 
to  Fox  films. 


at  all;  she  leans  rather  toward  the 
Garbo  model.  She  is  very  tall,  and 
not  really  pretty,  but  very  magnetic. 

"She  was  supposed  to  land  from 
Europe  on  Tuesday,  and  Paramount 
planned  a  big  luncheon  for  her  on 
Wednesday.  Then  that  old  devil 
got  rough  and  her  boat  was  a  day 
late,  so  she  had  to  come  to  the 
luncheon  right  from  the  dock.  She 
looked  a  little  tired  and  had  on  a 
most  unbecoming  dress,  with  a  high 
neckline  and  a  girlish  tie  that  was 
broken  out  with  a  rash  of  la- 
white  polka  dots.  In  spite  of  every- 
thing she  swept  every  one  off  his 
feet.  That,  little  children,  is  what 
i*  known  a--  magnetism. 

"She  speaks  with  very  hit' 
t,    in    one   of   th(  round, 

cultivated   \  Plays  the  i 

and    violin   and    sin)  uld 

yotl     believe     it?—]  'a     11111 

at    the    Bhij  coming 

' 
"She    was    terribly    thrilled 
landing  in   Brooklyn,  b<  it   is 

I'.mil  Jannings'  birthpku  just 

finished    making   'I 
with    him    in    Germ 

'  er   f->r  stage  pla 
would  rather  n 
a    while.      She    has    to  '     to 


32 


Over  The  Teacups 


l'holo  by  Cliicinod 

The  cards  are  all  stacked  in  favor  of 

making  Rose  Hobart  a  grand  slam  in 

pictures. 

Germany  in  six  months  or  so,  be- 
cause she  is  under  contract  to  Max 
Reinhardt  to  do  'Rain'  on  the  Con- 
tinent. 

"Some  one  asked  her  what  player 
in  American  pictures  she  liked  best, 
and  her  answer  came  without  hesita- 
tion. I  thought  a  publicity  man 
would  have  coached  her  to  say  Nancy 
Carroll,  or  Ruth  Chatterton.  But  no, 
they  let  her  speak  her  mind.  She 
said  that  she  considered  Greta  Garbo 
the  greatest  actress  of  the  age.  The 
girl  seems  to  have  a  lot  of  enterprise. 
When  Paramount  signed  her,  she  was 
all  ready  with  a  suggestion  for  her 
first  picture.  She  had  read  a  Foreign 
Legion  story  that  she  liked.  So  it 
was  bought  for  her,  and  she  will 
make  it  right  away,  with  Gary  Cooper 
playing  opposite." 

"Don'1  tiny  ever  think  of  getting 
any  new  men  in  pictures'"  1  asked, 
when   she  paused    for  breath. 

"If  they  do.  they  don't   seem  to  take  any  action  about 
he  remarked,  as  if   it   really  didn't  matter,  anyway. 
Then  her  eyes  popped  open  with  amazement. 

"There  is  a  man  they  will  simply  have  to  get  for  one 
picture,  at  least,"  she  announced  vociferously.  "I  un- 
derstand he  doesn't  want  to  act  any  more,  but  it  would 


he  wicked  for  any  one  else  to  play  a  part  he  did 
so  marvelously  on  the  stage." 

"And  do  you  mind  telling  me  who  it  is?"  I  asked, 
a  little  acidly.  Fanny  has  such  a  way  of  telling 
everything  but  the  point  of  a  story. 

"Well,"  she  began  charitably,  "I'll  tell  you  the 
whole  story.  There's  a  guy  named  George  Abbott 
who  is  as  talented  and  versatile  as  Jimmy  Gleason. 
Me  wrote  a  swell  play  with  Gleason  years  ago. 
Since  then  he  has  been  coauthor  of  four  of  the 
biggest  successes  on  Broadway.  At  odd  moments 
he  directs  plays  and  pictures.  And  a  few  months 
ago  a  play  called  'Those  We  Love,'  of  which  he 
was  coauthor,  seemed  doomed  to  die  unseen,  be- 
cause no  actor  could  be  found  who  was  big  and 
gruff  and  charming  enough  to  play  the  lead.  Fi- 
nally, Abbott  was  prevailed  upon  to  play  it  himself, 
and  the  way  flappers  and  dowagers  act  over  Rudy 
Vallee  was  just  nothing  to  my  carryings-on  over 
him  when  I  saw  it.  A  mutual  accmaintance  offered 
to  take  me  backstage  to  meet  him.  Though  you'll 
probably  never  believe  me,  I  got  all  choky  in  the 
throat  and  trembly  in  the  knees  and  couldn't  see  it 
through.  I  can  meet  all  the  Vallees  and  the  Chev- 
aliers, the  Novarros  and  Coopers,  as  part  of  a  day's 
routine,  but  this  man  Abbott  made  me  just  a  retir- 
ing bit  of  sentimental  lavender  and  old  lace. 

"Now  Paramount  has  bought  the  screen  rights  to 
'Those  We  Love'  for  Ruth  Chatterton,  and  they 
have  George  Abbott  under  contract,  so  they  ought 
to  insist  on  his  playing  in  it.  Unfortunately,  he  is 
much  more  interested  in  directing.  He's  making 
' Manslaughter, '  with  Claudette  Colbert.  But  maybe 
my  prayers  will  be  answered." 

And  I  thought  Fanny  was  growing  up ! 
It  worries  me  a  bit  to  have  Fanny  speaking  so 
highly  of  every  one.  Usually  those  streaks  hit  her 
only  after  she  has  been  talk- 
ing to  Mary  Pickford,  and  I 
realize  that  the  influence  will 
pass  in  time.  This  time  I 
couldn't  blame  it  on  any  one, 
so  I  asked  if  her  stock  of 
venom  had  run  out  com- 
pletely, 
around 
S'usher. 


T 


don't  want  to  he 
if    she   turns   into   a 
That  is,  a  continu- 
ous one. 

"I  know  it  seems  spineless 
of  me,"  she  admitted.  "Ev- 
erybody ought  to  dislike  a 
few  people,  if  only  to  make 
them  appear  discriminating. 
I've  cherished  an  acute  dis- 
taste for  Harry  Richman 
ever  since  I  first  saw  him, 
and  now  even  that  is  gone. 
Lucille  Gleason  told  me  so 
many  nice  things  about  him 
that  I've  had  to  bury  my  pet 
hate. 

"I  haven't  been,  really  an- 
noyed at  any  one  in  weeks, 
except  T<ick  Oakie.  Any 
man  who  has  a  glad-handing 
manner  is  bad  enough,  but 
one  who  wears  patent-leather  shoes  with  a  tan  sports 
coat  makes  me  want  to  go  out  and  gargle." 

And  Fanny  liked  him  so  well  on  the  screen!     It  is  a 
pity  he  ever  came  East. 

"Did  you  know  that  Nancy  Carroll  may  come  to  New 
York  to  make  a  oicture?"  Fannv  asked  absently  as  she 


Photo  by  Fryer 
No  film  is  complete  nowadays  without  Zasu 
Pitts. 


Over  The  Teacups 


glanced  around  the  room.     "It's  called  'Laughter.'     Par- 
amount has  been  dickering  with  Laura  La  I  Manic  to  do 
it.  but  unless  they  are  ready  to  start   right   away,  she 
will  sign  with  some  one  else  and  go  hack  to  the  Coast. 
-  been  taking  a  vacation  in  New  York.     Not  a  real 
ition,  though,  because  she's  taking  vocal  lesson-*. 
lira    is    one    of    the    most    satisfactory    people    1 
know.      She   is   so  bland   and  good-natured   and   inter- 
ested in  everything,  she  makes  other  people  seem  like 
sputtering  high-tension  wires.     She  has  been  working 
so  hard  in  pictun  since  she  was  a  baby  that  she 

would  like  to  take  a  long  rest  and  travel  a  lot." 

In  a  way  stars  are  like  habitual  criminals.  They 
always  think  they  will  retire  after  just  one  more  job. 
but  most  oi  them  don't.  Colleen  Moore  is  one  oi  the 
few  who  has  stuck  to  her  determination  to  break  away 
from  pictures  for  a  while  and  see  something  oi  the 
world.  She  was  in  New  York  for  a  few  days  incog 
nito.  and  she  looked  radiant.  She  is  having  the  time 
of  her  life,  traveling  a  bit  whenever  the  notion  hits  her. 
going  to  art  school,  and  leaping  across  the  country  to 
er  brother.  Qeve,  on  the  stage  in  "June  Moon." 
Qeve  has  developed  into  a  tine  actor,  and  Colleen  is 
much  more  thrilled  over  his  success  than  she  ever  was 
over  her  own. 

m  the  way   that    Fanny   lapsed    into   silence  and 
fidgeted    around    I    knew    that    she    was    looking    for 
e  one. 

"1  was  just  hoping  that  Madame  Frances  would  come 
in."  she  explained.    "You'd  be  interested  in  seeing  her." 

"Just  why  ?"  I  wanted  to  know. 

"Oh.  because  then  you'd  appreciate  how  wildly  Fox 
flatters  her  in  choosing  Irene  Rich  to  portrav  a  charac- 
ter that  was  written  around  her. 

"Rita  Weiman  wrote  an  awfully  good  short  story 
called  'On  Your  Back.'  and  Broad  way  ites  immediately 
recognized  the  main  character  as  Madame  Frances. 
She's  been  a  big  influence  in  Xew  York  for  a  long 
time.  Started  out  with  a  little  five-dollar  hat  shop  next 
to  the  Palace  The- 
ater, and  in  a  few 
years  no  actress  felt 
that  she  had  really 
'arrived'  until  Fran- 
ces designed  her 
clothes.  And  what 
they  cost ! 

"Whenever  a 
producer  found  a 
girl  with  talent,  he'd 
submit  her  to  Ma- 
dame Frances  and 
ask  what  she  really 
thought  of  her.  She 
was  a  big  influence 
in  shaping  the  ca- 
reers of  Alice  Joyce, 
the  Talmadjjes.  Co- 
rinne-  Griffith,  and 
a  lot  of  others  by 
gning  clothes 
that  made  them 
k  their  ]>■ 

"I  only  hope  that 
the     director     who 

makes  the  picture  knows   Madame    Fi  if 

her  gusty,  hard-boiled  humor  is  left  out.  I'll  look  on  the 
picture  as  a  tragedy.  Irene  Rich  i^  infinitely  prettier 
than  Madame  Frances,  but  I  don't  know  that  she  can 
get  her  "inp.  insouciant  pessimism.     Frances  al- 

JCpectS  the  worst,  and  makes  it  appear  amusing. 
Marie  Dressier  is  more  mv  idea  of  the  one  for  the  r 


>unt  brought    Marlene   Dietrich   from   Germany   in 
high  hopes. 


Broadway's   most   famous   modiste 

will    be    portrayed   by    Irene    Rich 

on  the  screen. 

but  then  you  never  can  tell.     Irene 
always  surprises  when  she  g 
role  that  gives  her  half  a  chance." 
"Marie  Dressier,"  I  began, 

really " 

"Yi  s,"  Fanny  gloated.  "At 
last  Metro-Goldwyn  means  to 
Mar  her.  1 1 '•-  about  time.  You 
would  think  that  the  company 
would  listen  to  Frances  Marion's 
advice,  inasmuch  as  she  has  writ- 
ten so  many  of  t h«ir  best  picti 
and  ■  many   of   their 

bad    to 
ie  with  them  for  two 
make  them  see  that  A 
a  big  drawing  card. 
"In   getting  h< 
Marion  won  a  doubli 
her  fit 

by    Lorna    M 
which  Miss  Marion  has  been  try- 
in  to  film  i 
ir.      Miss   Marion  spend        I  much  time  trv 
promote  her  friends,  it'-*  a  wonder 
do  an) ;!  ii 

"Lorna  Moon  v.  •  writer  with 

wyn  until 


34 


l'lioto  Li-  White 


ESTELLE  TAYLOR  was  in  New  York,  taking  a 
fling  at  vaudeville.  She  was  appearing  at  3:05 
p.  m.,  so  at  3  :04  I  bought  a  ticket  and  found  my 
way  into  the  dim  reaches  of  the  theater. 

An  impressive  silver  curtain  served  as  background  for 
a  less  impressive  pianist  who  busily  sang  about  movie 
stars  in  general,  and.  in  due  course,  Estelle  Taylor  ^  in 
particular.  There  was  a  dramatic  pause,  a  resounding 
chord,  and  a  spotlight  pointed  upstage,  center.  Then 
Estelle  appeared,  as  advertised.  "In  person." 

However  vast  your  experience  among  stellar  bodies 
has  been.  Estelle,  in  person,  is  something  to  write  home 
about.  The  Taylor  figure  is  little  short  of  spectacular, 
and  some  canny  fellow  had  designed  a  gown  that  em- 
phasized every  eloquent  point. 

.\>  I  recall  the  proceedings,  Estelle  sang  a  song  or 
two  that  didn't  matter  tremendously,  retiring  to  change 
to  a  second  gown,  undoubtedly  designed  by  the  same 
canny  fellow,  that  served  as  an  overwhelming  setting  for 
the  succeeding  two  songs.  Then  the  act  was  over,  with 
a  great  burst  of  applause,  and  I  was  on  my  way  back  to 
the  stag! 

<  >n  tlie  way  T  remarked  that  there  had  been  no  cooing 
about  Hollywood  and  her  fan  public,  no  mention  of  Jack 
Dempsey,  who  is.  in  Hollywood,  "Air."  Estelle  Taylor, 
no  attempt  to  he  other  than  what  she  was — a  movie  star 
on  vacation,  making  it  pay. 

Backstage  I  climbed  a  flight  of  iron  steps  to  the  head- 


The  Delaware  Delilah 

She    is    Estelle    Taylor,    whose    seductiveness    sends    the    inter- 
viewer's senses  reeling  back  to  biblical  history. 

By  Malcolm  H.  Oettinger 

liner's  suite.  Vaudeville  has  changed.  Dressing  rooms  have  become 
suites.  The  old  idea  of  a  chair  and  a  trunk  has  given  way  to  a  wicker 
settee,  a  couple  of  rockers,  a  chaise  longue,  and,  wonder  of  won- 
ders, a  bath. 

"Sit  here  and  talk,"  said  Estelle.  "because  this  is  a  fireman's  job;  I 
do  my  act  every  hour.  Sometimes  oftener.  Whenever  somebody  raps 
on  the  door  I'm  all  ready  to  jump  out  on  the  stage  and  do  my  stuff." 

The  time-table  showed,  however,  that  Estelle  had  a  two-hour  respite, 
to  say  nothing  of  a  gasoline  brougham  below.  So  we  started  for  a  cozy 
haven  in  the  fertile  Fifties. 

There  is  something  very  genuine  about  this  Wilmington,  Delaware 
girl.  She  talks  in  short  sentences  and  sounds  sincere.  There  are  no 
circumlocutions,  no  elaborate  euphemisms ;  when  something  deserves  a 
terse  epithet  that  is  precisely  what  it  gets. 

Regarding  herself,  she  harbors  no  illusions.  In  front  of  the  camera 
she  is  sure  of  her  ground  ;  on  the  A-audeville  platform  she  knows  that 
she  is  a  novice.  Not  long  ago  she  essayed  a  part  opposite  her  husband 
in  something  articulate,  "The  Big  Fight."  When  it  opened  in  Phila- 
delphia she  invited  a  few  friends  from  New  York,  saying,  "The  most 
that  I  can  hope  for  is  that  I  won't  make  myself  ridiculous."  Paren- 
thetically, it  may  be  added  that  she  did  not,  nor  did  she  carry  the  affair 
to  success ;  Katharine  Cornell  and  Alfred  Lunt  could  not  have  saved 
that  particular  play. 

The  last  time  I  had  seen  Estelle  Taylor  was  years  ago,  when  she  was 
starting  a  purple  career  as  the  dynamic  lady  in   "While  New  York 
Sleeps,"  a  Fox  melodrama  that  was  something  of  a 
classic.     That  was  in  the  days  when  Mae  Murray 
was   still   the   blondest    ingenue    in    captivity,    when 
Pearl  White  was  attempting  drama  rather  unsuccess- 
fully following  her  triumphs  as  Pauline,  when  Louise 
Glaum  was  the  grand  old  vampire  of  the  screen,  and 
some  idler  named  DeForest  had  tried  to  show  a  pic- 
ture that  was  synchronized  with  a  phonograph  record. 
Before  any  one  begins  to  think  that  all  this  would  date 
Estelle  Taylor  as  one  of  the  original  Florodora  sextet. 
let  it  be  said  that  she  was  barely  out  of  her  teens,  trying 
Fox  immediately  after  an  inconspicuous  Broadway  debut 
in  a  play  that  failed  to  run  three  weeks.     If  I  felt  statis- 
tical I  would  be  inclined  to  guess  Estelle  just  this  side  of 
thirty.     She  doesn't  look  more  than  twenty-six. 

Her  face  is  a  background  for  her  eyes,  still  the  most 
memorable  pair  the  films  have  to  offer.  They  are  ab- 
normally large  and  round,  without  being  at  all  ingenuous, 
and  they  carry  a  dangerously  high  voltage.  The  Taylor 
mouth  is  not  to  be  omitted  by  the  snapshot  reporter, 
either,  representing,  as  it  does,  a  symposium  of  the 
seductive  mouths  in  history. 

Without  sinking  to  bald  repetition,  let  me  say  -that 
from  the  head  down  one  could  easily  wax  eloquent.  The 
Taylor  figure.  I  repeat,  is  spectacular.  Proof  of  this 
statement  may  be  found  in  the  fact  that  she  looked  just 
as  arresting  in  a  sports  costume  as  she  did  in  her  revela- 
tory stage  dresses. 

The  years,  as  the  phrase  goes,  had  wrought  little 
change.  In  the  Fox  factory  on  Tenth  Avenue  I  had 
been  impressed  by  the  Taylor  eyes,  the  Taylor  lines,  the 
Taylor  frankness.  In  the  grilled  basement  of  a  brown- 
stone  front  off  Madison  Avenue,  I  was  again  impressed 
by  the  same  details.  Added  was  a  definite  poise,  a  sure- 
ness  gained  by  success. 

Continued   on   page    110 


Estelle  Taylor 
looks  just  as  ar- 
resting in  a  sim- 
ple frock  as  she 
does  on  the  oppo- 
site page. 


35 


ESTELLE  TAYLOR  is 
one  of  the  three  most 
colorful  personalities  en- 
countered in  ten  years  of 
interviewing,  says  Malcolm 
H.  Oettinger  on  the  oppo- 
site page.  But  take  it  from 
us,  she  is  really  more  than 
that,  as  you  will  discover 
for  yourself. 


i ,-  \  ^-11 


36 


AN  interesting  event  in  prospect  for  discriminating  fans  is  the 
■*»  first  appearance  together  of  Mr.  and  Mrs.  Ralph  Forbes- 
otherwise  Ruth  ("hattcrton— in  a  film,  "The  High  Road,"'  by 
Frederick  I.ons<Ialc,  whose  "Last  of  Mrs.  Cheyney"  delighted 
lovers  of  worldly  comedy. 


Photo  by  Hurrell 


37 


Photo  or  Bauril  Bail 


ALL   doubt    of    Harold    Lloyd's    future   in    talking    picture 
-  whelminifly    UMWCfVd    by    "Welcome    Danger,"    and    this 
moment  finds  litm  absorbed  in  a 

I  .man   with   social  MT%ft*TTf  and   a  quickening   ; 

for  Baitara  K<  m 


38 


IMARRIED  and  settled,  so  to  speak,  Marian  Nixon  turns  to 
*»*  her  first  love  to  assuage  the  burning  ambition  that  even 
rich  young  wives  possess.  We  mean,  of  course,  that  eternal 
Lorelei,  the  screen,  which  will  offer  her  "Courage"  as  well. 


Photo  by  Preiton  Dunrto 


39 


WE    blush    to    n-sc    tlu    old,    t'amiliar    a<!jrct:vrs    m    <!cscribin(C 
Lilyan   Tashman,   and    it   is    futile   to  nvniion   her    lairsl   pic- 
ture, because  there  are  too  many  of  them.     This  new  photograph, 
is  just  a  pleasure  for  hrr   fans  and  ourselves. 


40 


Photo  by  Otto  Dyar 


TUT,  tut,  child!  Why  do  you  think  we  prefer  caviar  when  you 
arc  such  perfect  peaches-and-cream?  For  this  arch  siren  is 
Mary  Brian,  no  less!  A  moment  of  girlish  impulsiveness  with 
ihc  curling  iron  and,  lol  we've  lost  our  Mary. 


41 


ITW.'v    »)7    V.-r*    MM    Ri'S~- 


AYF.AR    iv.ii    only    those    with    extraordinary    mfnMTTtfl    had 
r  heard  of  Stanley  Smith,  hut  to-<!ay  it  is  quit'.  <lif' 
Sweetie"  opened  the  way  to  the   fan  .moothed 

it,    and    "Queen    High"    is    expected    to   keep    him    in 


42 


Photo  by  Hurrell 


LIKE  most  persons,  William  Haines  has  many  sides  to  his 
•  character  unsuspected  save  by  those  who  know  him  well. 
In  the  story  opposite,  Samuel  Richard  Mook  captures  fleeting 
impressions  of  Billy  in  odd  moments  that  will  make  you  know 
him  intimately. 


Random  Notes  On  Billy 

These   disconnected    impressions   of   William    Haines   reveal   his   many   sides  more   surely   than   a  single 

interview  in  a  stipulated  time.     See   if  you  don't  agree. 

By   Samuel   Richard   Mook 


THE  first  recollection  I  have  of  Billy  Haines  was 
when  he  was  being  interviewed  by  a  staid  news- 
paper woman  from  Boston.  It  was  evident  that 
she  had  never  met  any  one  like  him  before  and  Billy, 
sensing  that,  was  certainly  taking  advantage  of  her  cre- 
dulity and  making  hay  while  the  sun  shone. 

"Yes,"  said  he.  "I  am  engaged  to  Patricia  Moran. 
She's  one  of  the  Morans  oi  Virginia — one  of  the  very 
best  families  from  that  State." 

'"I  don't  believe  I  know  them."  murmured  the  writer. 
"No,"   said   Hill,  "you  wouldn't." 

I  he  was  quite  right,  for  they  never  existed.  The 
'"Patricia"  referred  to  is  the  lady 
known  in  pictures  as  Polly,  and 
her  native  habitat  is  Chic. 
But  little  things  like  names  and 
places  never  worry  Billy  when  he 
is  telling  a  story.  Finding  the 
writer  interested,  he  waxed  elo- 
quent. "It's  bound  to  be  a  happy 
marriage."  he  continued,  '"be- 
cause we  have  so  much  in  com- 
mon. We  can  ride  to  the  hounds 
•her,  we  enjoy  the  same 
things  when  we're  away  from 
the  studio.  We're  only  waiting 
until  she's  finished  her  contract 
and  saved  a  little  more  money 
before  we  marry." 

One  of  the  men  from  the  pub- 
licity department  intervened  and 
escorted  the  lady  away.  Billy 
was  in  high  spirits  over  his  in- 
terview and  repeated  it  to  every 
one  who  would  listen.     Nut ! 

Occasionally  the  clowning  was 
interrupted  by  work  and  they 
shot  a  few  scenes.  His  leading 
lady  couldn't  remember  her  lines 
in  a  certain  sequence  and  it  was 
shot  and  reshot  a  number 
times.      The    poor    girl    was    in 

tears.     "I'm  terribly  sorry."  she  kept  saying  continually. 

"Aw.  don't  worry."  Bill  consoled  her.     "I  do  the  same 

thing  myself — all  the  time."    Big-hearted  and  sympathetic. 

During  a  lull  I  asked  what  he  considered  the  principal 

differences  between  making  a  talkie  and  a  silent. 

"When  you  make  silent  pictures  you  leave  the  studio 

and  go  out  to  play.     When  you  make  talkies,  you  l< 

the  studio  and  go  home  to  study  your  lines  for  the  next 

day.     That's  all  the  difference,  as  far  as  I'm  concerned." 

"'Well,  that's  not  enough  to  fill  an  article."  I  retorted. 

u'll  have  to  do  better  than  that." 
"Fix  up  something  yourself  for  me  to  say.     You  know 
as  much  alxjut  this  game  as  I  do."     Flattery. 

"Like  fun  I  will."  I  returned.  "Why  should  I  rack 
my  brains  for  something  to  make  you  ap]*-ar  clever? 
I'm  as  dumb  as  you  are." 

"Really-"  Billy  murmured.  "I  didn't  think  writers 
were  ever  dumb.  I  thought  I  was  being  generous.  They 
never  write  what  you  tell  'em.  anvh 


William  Haines  is  one  star  who  welcomes 
competition  from  players  in  his  films. 


"True."  1  conceded,  "hut  when  they  don't,  the  actors 
still  get  the  breaks." 
"Yeah?    You  break  the  best  of  them."    Engrate! 

Billy  Haines  at  an  opening.  Clowning.  Pile  of  the 
party.  Personality  plus  and  all  that  sort  of  thing.  Good 
business.  It's  what'--  expected  of  him.  IP-  gives  'cm 
what  they  want. 

Billy  Haines  walking  around  the  lot.  High-hatting 
Robert  Montgomery.     Wonder  why  ? 

And  then  an  afternoon  in  his  home  when  the  two  ol 
us  sat  in  front  of  a  log  tire  sipping  ginger  ale,  when  not 
a  wisecrack  dropped  from  the  lips  of  either  and  even 
smiles  were  rare.  An  afternoon 
of  long  silences  and  intermittent 
conversation,  in  which  he  still 
contrived,  somehow,  to  tell  me  ol 
his  friends.  He  spoke  gener- 
ously of  their  wit — of.  for  in- 
stance, a  trip  he  and  Roger  I  >avis 
had  made  to  San  Francisco, 
when,  stopping  for  the  night  in 
a  halfway  hotel,  they  had  retired 
about  ten  o'clock  and  he  had  cau- 
tioned Roger  that  they  expected 
to  leave  at  --even  thirty  next 
morning. 

Arising  himself  at  seven,  he 
had  wakened  Roger  a  little  lah.-r. 
"What  time  P  it?"  the  latter 
asked    sleepily. 

"Seven  twenty."  Bill  informed 
him. 

"Well,  my  contract  calls  for 
seven  thirty,"  Roger  -aid,  and 
turned  over  to  go  hack  to  sleep. 
"When  a  fellow  can  waken  out 
of  a  ten-hour  sleep  with  a  crack 
like  that,"  said  Bill,  "that's  my 
idea  of  humor."  Unselfish,  to 
praPe  some  one  else  like  that. 

The  fire  crackling  and  glowing 
cast  a  semispell  over  us. 
"What  the  deuce  do  you  think  about  when  you're  by 
yourself  ?"  I  asked. 

"I  dunno.  Pike  Lorelei  Lee.  in  'Gentlemen  Prefer 
Blonde-.'  1  seem  to  he  thinking  practically  all  the  time 
— and  I  guess  my  thoughts  are  just  about  as  ponderous. 
When  I'm  not  working.  I  putter  about  the  house  here 
and  seldom  see  any  one  during  the  daytime.  This  is  the 
third  day   I've  been  here  by  myself.     When  night  comes 

I  like  to  gel  going."    Funny  bird. 

And   then   he   took   me   through   his   house    from 
to  stern.     A  house  that,  from  the  outside,  could  belong  to 
any  one  hut  which,   from  the  inside,  could  belong  to  no 
one  hut  a  person  of  uncommon  t;: 

And  then  he  exhibited  boyish  pride  in  his  possessions 
— in  a  set  of  sixteen  exquisite  miniatures,  only  a  f< 
which  he  has  hung,  because  more  than  etned  out 

of   place  and   he  didn't   believe   in   sticking  them   Up  just 
he  had  them.     <  iood  judgment, 
tinned  on 


44 


IT  does  seem  like  magic,  doesn't  it?  But  you  don't  be- 
lieve in  magic,  and  neither  do  I.  Yet  you  must  be 
wondering,  when  you  have  met  the  proof  that  these 
readings  are  true,  how  it  is  that  T  can  tell  you  that  you 
were  deeply  in  love  ten  years  ago,  or  that  you  were  eight 
years  old  when  your  father  died?  It  seems  utterly  un- 
believable, I  know,  that  so  many  details  could  possibly  be 
indicated  in  a  name,  made  up  of  about  thirty  letters  at 
the  most,  with  several  letters  used  more  than  once.  And 
yet  I  do  tell  the  truth. 

Two  months  ago  I  gave  you  a  little  indication  of  how 
vihration  is  life  itself,  and  of  how  this  rate  of  vihration 
differs  and  expresses  itself  in  different  ways  in  the  world 
that  we  know  and  see  and  feel,  in  numbers  that  are  rec- 
ords of  vihration.  Now  let  me  give  you  an  illustration 
that  will  make  the  principle  of  reading  names  quite 
simple  and  clear. 

Do  you  know  anvbody 
named  John  Smith  ?  If  you 
do,  you  can  prove  to  your- 
self a  little  of  the  truth  of 
this  mysterious  law  that 
gives  you,  at  birth,  a  chart 
of  the  life  you  will  go 
through,  with  its  pleasures, 
successes,  disappointments, 
and  pains,  and  an  indication 
of  the  nature  that  you  bring 
with  you,  as  it  has  grown 
up  out  of  the  thousands  of 
lives  that  you  have  lived  be- 
fore. Simply  ask  this  John 
Smith  whether  what  I  have 
told  you  of  him.  taking  his 
age  into  consideration,  is 
true. 

His  name  has  become  the 
symbol  of  the  commonplace, 
the  colorless,  and  the  undis- 
tinguished, and  there  is  a 
good  reason  for  this  intui- 
tive interpretation. 

John  Smith's  life  is  full 
of  hard  work — activity  that 
may  begin  as  early  as  when 
he  is  twelve  years  old, 
brings     him     more     money 

than  he  has  ever  had  when  he  is  about  twenty,  hut  con- 
tinues for  at  least  ten  years  more  before  he  can  see  any 
permanent  results.  He  is  a  little  boy  with  old-fashioned 
notions  by  the  time  he  is  ten.  suffers  from  some  rather 
serious  abdominal  trouble,  or  is  run  over,  or  loses  his 
father,  between  the  ages  of  eight  and  sixteen,  or  may 
even  have  all  of  this  happen  to  him  at  that  time.  So  he 
Struggles  to  hell)  his  mother  and  brothers  and  sisters, 
because  his  ability  to  feel  their  troubles  and  his  inborn 
sense  of   responsibility  drive  him  to  it. 

In   one   wav   or  another,   life  has  John   by   the   throat 
for  the  greater  part  of   bis  existence,      lie  rises  slowly, 


CTrie  Mystery 

In  this  fascinating  new  department  will  be  found 
Besides   examples  of  its   influence   on  the   lives   of 

the  letters  of 


By  M 


A  Message  From  Miss  Shenston 

Thousands  and  thousands  of  letters  have 
come  to  me  since  the  publication  of  my  first 
article  in  PICTURE  PLAY,  and  the  second 
one  brought  no  less  a  response.  They  have 
come  from  far  and  near,  from  addresses 
within  a  stone's  throw  and  from  points  on 
the  other  side  of  the  globe. 

Answering  each  one  individually  is  a 
tremendous  task,  but  a  happy  one  because  of 
the  stimulus  I  receive  from  such  widespread 
interest    in    numerology. 

As  you  can  well  imagine,  a  great  deal  of 
time  is  required  to  reach  such  a  volume  of 
names.  That  is  why  I  bespeak  your  patience 
and  assure  you  that  each  one  of  you  will 
receive  a  reply,  either  by  mail  or  in  the  col- 
umns of  this  department — that  is,  if  you  have 
followed  the  rules  in  filling  out  the  coupon 
and  sending  it  to  me  with  a  self-addressed 
envelope. 


onica 


one  step  at  a  time,  because  he  takes  no  risks,  but  even 
when  things  go  downhill  for  a  while,  he  feels  that  it 
might  be  worse.  Girls  mean  little  or  nothing  to  him, 
until  he  is  thirty.     About  that  time,  he  gets  into  some 

difficulty  with  a  woman  who 
has  been  married  before, 
more  because  he  feels  sorry 
for  her  than  because  of  real 
love.  Even  when  he  does 
marry  at  thirty-five,  or  a 
little  later,  love  means  to  him 
a  home  and  a  woman  in 
it,  but  he  is  unacquainted 
with  the  ecstasy  that  makes 
young  men  see  the  face  of 
a  certain  girl  in  the  flowers 
and  in  the  stars,  and  drives 
older  men  to  fight  for  fame, 
power  and  money  for  the 
sake  of  a  woman. 

Between  forty-two  and 
fifty,  John  Smith  has  a  very 
hard  time.  Business  is  bad, 
he  and  his  wife  are  not 
happy ;  she  is  ill  herself, 
and  some  other  woman  gets 
mixed  up  with  their  lives. 
But  after  fifty,  success  ap- 
pears nearer,  and  he  begins 
to  enjoy  some  of  the  satis- 
faction that  he  has  been 
seeking  all  his  life,  although 
he  is  troubled  now  and  then 
by  a  high  blood  pressure. 
His  best  years  come  to 
him  after  sixty.  By  that  time  he  has  gathered  together 
what  seems  to  him  like  a  competence,  he  becomes  spiritu- 
ally independent,  self-assertive,  affectionate,  and  lively, 
and  disrespectful  youngsters  wonder  what  he  ever  ac- 
complished that  gives  him  a  right  to  be  so  cocky.  Hav- 
ing lived  past  the  dangerous  years  of  his  childhood  and 
passed  successfully  the  one  difficult  period  of  middle 
age,  he  is  sure  to  live  to  be  about  eighty,  and  will  have 
a  few  years  in  which  to  enjoy  life. 

There  are  two  factors  that  will  appear  to  make  the 
lives  of  the  many  John  Smiths  differ.     One  will  actually 
Continued    on    page    100 


M  **£ 


Of  Tfour  Name 

an  explanation  of  the  science  of  numerology, 
stars,  the  names  of  readers  also  are  analyzed  from 
their   names. 

Andrea   Shenston 

What  Buddy  Rogers'  Name  Tells 

THE  vibrations  that  you  attract  to  yourself,  as  those 
that  you  give  out.  dear  Buddy  Rogers,  go  up  and 
down  like  the  waves  oi  the  sea.     The  actual  let- 
ters of  your  name  are  impressionable, 
generous,  and  yielding,  but  the  totals 
for  the  different  departments  of  your 
life  have  a  remarkable  power  of  un- 
derstanding, of  will,  and  of   accom- 
plishment. 

T'i  l>e  successful,  and  overcome  the 
dark  birth  path  of  Eight  with  which 
you  are  born  and  cannot  escape,  you 
will  have  to  call  on  these  deep  re- 
serves of  your  own  nature,  reserves 
that   have  nothing  to  do  with   what 
may  happen  to  you  from  day  to  day. 
But  no  matter  what  difficulties  you 
meet,   you  have  the  power  to  drive 
right  through  them.     Every  rock  in 
your  path  serves  as  a  stepping-stone 
to  lead  you  higher,  and  no  cloud  is  so 
black  that  you  cannot  pierce  it  and 
find  a  silver  lining — often  the  kind  of 
silver  that  can  l>e  turned  into  gold! 
That  birth  path  does,  indeed,  indi- 
cate that  you  will  never  be  en- 
tirely    free     from     the     dark 
clouds  and  the  rocks,  but  the 
totals  for  the  different  aspt 
of    your    life    are    wonderful. 
The  Five  that  is  the  total  of 
birth  and  name  together  prove- 
that  you  are  intelligent,  active, 
eager  for  knowk  light- 

forward.   true.  eople 

drive  you  crazy,  and  any  little 
thing    that     is    not     perfectly 
ird  makes  you  uncom- 
fortal  en  if  it  is  only  in 

fun.  you  don't  like  it. 

Thi  diat 

you  will  have  plenty  of  money 
when  you  are  past  mid 
have  an  exciting  time  in  keeping  it.  but  it  will  : 

and   an 
who  wants  to  do  business  with  you  ha 


You   will    be    married    within    two    years,    Buddy 

Rogers,   and    will   have    something    like    the    love 

you    dream    of. 


I  admit  that   you  will 


how  and  \\li> .     Bui  hip  to  him. 

you  find  il  understand  any  explanation,  no  nut 

ter  how  complicated. 

In  tlie  divine,  which  is  the  spiritual  and  the  emotional 
Side    oi    life,    you    have    the    beautiful    number    Six.    the 
number  of  spiritual  love,  of  art.  ami  beauty.     Righl  now 
you  are  an  impulsive,  lively  youth  who  is  naturally  drawn 
into  all  kind>  of  excitement,  and  you  go  along  with  the 
crowd   and   enjoy   yourself   whole-heartedly.      But 
have  an  ideal  of  love  that  is  not  satisfied  with  i 
a   party,   kissing   in   a   roadster,   and   buying  a   ring 
later  a  home  for  a  jazzy  little  doll.     Vou  want  a  love  that 
is  deep  and  beautiful. 

Vou  dream  of   finding  a  girl   who  would   love  you   if 
you  never  had  a  cent,  and   whom   you  would  adore,  no 
matter  if  she  lost  all  her  looks.     Still  you  admire  beauty 
with  an  understanding  of  it  that 
ivw  boys  have:  you  appreciate  art. 
and    music    i-,   youi  love.      I 

am   sUre  that   you   first  thought   of 
earning   a    living   through    mu 
and   when   you    feel    iv<\   up    for  a 
while   with  the  excitement   around 
you,   not   because  you   lack  vitality 
— you   overflow   with    it — but 
cause  of  this  longing  of  \ 
something  profoundly  worth  while. 
music  you    like   a    drink    of 

clear,  cold  water,  like  a  plungt 
a  deep,  shady  pool  on  a  sultry  day. 
Your  greal  1   independ- 

ence and  you 

from  being  a  born  actor.     You  will 
-ful  as  long  as  you  con- 
tinue to  play  your  that 
self  is  charming,  but  you  will  fail 
if  you  try  to  express  anything 
Your   great    natural    talent    is    for 
production  on  the  stage  or  the 
en.    for    in    these    you    will 
find  scope  for  the  orderly  mind, 
the   power   oi              -ion.   the 

fighting   ability    that    will 

and    more   by   the 
time  you  are  thi:  I 

lent    ba 

but   in  a 

ill   be 

your  opportunity  I 

Number  Nil 

it.  is 

i 


40 


^    Sxtfeet  And 

Isn't  it  a  relief  to  find  the  prettiest  girls  in  the  movies  bereft,  at  last, 
their  beauty  is  enhanced  while  their  dresses  com 


Anita  Page,  left,  cool  as  lemon  ice  on 
a  hot  day,  is  refreshingly  clad  in  a 
frock  of  shell-pink  silk  crape,  the  bod- 
ice slender,  the  skirt  circular  and  very 
full,  and  the  collar  adding  grace  to  an 
extremely  charming  costume. 


Gwen  Lee,  below,  simple  but  chic  in  a 

dress  of  gay  print,  the  trimming  being 

of  the  same  color  as  the  pattern.     Try 

it  on  your  sewing  machine! 


Bessie  Love  above, 
i-  really  at  her  best 
in  sweetly  simple 
frock-;,  this  one  be- 
ing  of  printed  ^ilk 
worn  with  a  bright- 
ly bordered  scarf. 
The  skirt,  you  will 
note.  is  only  moder- 
ately gored,  and  tbe 
ensemble  is  com- 
]'1<  ti  lv   satisfying. 


Sally  Starr,  left,  recalls  the 
crisp  daintiness  of  old-fash- 
ioned dotted  Swiss,  doesn't 
she?  Her  frock  is  of  white 
material,  with  polka  dots  of 
crimson.  Tbe  waistline  is 
high,  (he  ruffles  full,  and  the 
bertha  modified. 


i; 


Simpl 


9    «\&^    *\a^ 


of  their  satins  and  sables?     In  these  inexpensive  summer  frocks 
bine  chic,  good  taste  and  complete  practicality. 


Anita,  a  pretty  Page, 
right.    111  a kes    gingham 

more  delectable  than  vel- 
. cause  her   frock  is 
smart  and  individual.    Of 
red    dotted    in    white,    it 
Doped,    un- 
even hemline  flounce,  and 
the  buttons  are  big  pearl 
ones. 


Extremely  chic   is 
I         ;  I 

frock 
with  a  knife-pi 

skirt    -  '    the 

hipline,   to  be 
with    a    jacl 

■ 

black  —  a-     the     tic, 
pocket 
of  tl 


■ 

high 


• 


48 


/ 


*Tne  GKost  at 

Along    with    the    glamorous    prosperity    of    a    player    or 
that  some  misstep,  perhaps  only  a  trivial  faux  pas,  will 

By  Mignon 

graph  system  conveys  the  word.     A  careless  shrug,  a  cynical 
half  smile  often  seals  a  fate. 

Some  are  blacklisted  for  dire,  dire  offenses ;  others  for  trivial, 
occasionally  amusing  causes.  Hollywood  is  like  a  small  country 
village  in  that  it  is  swayed  as  frequently  by  its  pet  likes  and 
aversions,  as  by  a  well-balanced  sense  of  justice. 

There  are  any  number  of  ways  of  getting  enrolled  on  the 
town's  invisible  book,  some  guaranteed  to  be  more  effective 
than  others. 

Here  are  some  of  the  reasons  why  certain  players,  stars, 
directors,  and  writers  may  bear  the  fatal  black  mark  on  their 
foreheads : 

"Sassed"  back  the  boss  too  many  times. 

Made  box-office  failures  at  a  time  when  employer  had  acute 
indigestion,  or  had  just  been  "stood  up"  by  a  blonde. 

Broke  the  morality  clause  of  a  con- 
tract. 


Photo  by  Hommel 

THERE'S  a  dark  shadow  hanging  over  the  sunny 
town  of  Hollywood,  threatening  the  happiness  and 
existence  of  every  one  in  pictures,  casting  terror 
into  the  hearts  of  even  the  elect.  It's  the  fear  of  being 
blacklisted. 

To  be  blacklisted  may  be  as  pernicious,  as  far  as  a 
career  is  concerned,  as  to  be  "spotted"  by  gangsters. 

Many  an  actor,  director,  and  writer  has  taken  his  slide 
to  oblivion  via  the  blacklist  route.  He's  found  it  to  be  a 
one-way  street,  with  "Out  of  the  Picture"  marked  in 
capital  letters  at  the  end  of  the  trip.  Some  few  have 
made  comebacks  up  this  tortuous  path ;  more  have  not. 

The  fear  of  being  banned  by  Hollywood  is  the  more 
insidious,  because  one  seldom  can  prove  that  he  is  or  isn't 
on  somebody's  list  of  condemned.  And  only  the  rashest 
of  souls  dare  to  break, 
with  protests,  the  deadly 
silence  which  surrounds 
their  banishment. 

There's  many  a  home- 
less player  wandering 
from  studio  to  studio  un- 
able to  find  a  berth, 
watching  his  depleting 
bank  roll  and  feeling  as 
though  he  must  be  ac- 
cursed with  a  plague. 
Even  his  best  friends 
won't  always  tell  him 
that  be  has  been  black- 
balled. As  a  rule,  they 
don't  know  until  the  ac- 
tor himself  realizes  it. 

I  [ollywood's  black  list 
i»  no  neat  scroll  sent  out 
from  headquarters  upon 
which  the  names  of  the 
(loomed  are  written.  It's 
an  unwritten  list,  seldom 
official.   A  grapevine  tele- 


Adolphe  M  e  n  j  o  u 
went  abroad  to 
make  pictures  be- 
lieving he  was  boy- 
cotted here. 


Broke  contract  to  sign  with  another 


company  for  bigger  salary. 

Got  caught  playing  shady  studio  pol- 
itics against  those  with  influence. 
Complained  too  loudly  about  the  way  they  were  be- 
ing treated. 

Wrote  criticisms  of  Hollywood  or  Hollywood's  great. 
Weren't  the  "right  type." 

Were  victims  of  personal  grudges  and  grievances. 
Among  those  who  are  suffering,  or  have  suffered  in 
the  past,  from  the  blacklist  bugaboo  are  Adolphe  Menjou, 
Erich  von  Stroheim,  Roscoe  Arbuckle,  Conway  Tearle, 
and  Rudolph  Valentino.  But  there  are  many,  many 
others,  some  famous — some  not  so  famous.  Every  class, 
every  caste,  from  the  humblest  extra  and  prop  man  to 
the  biggest  executive,  has  contributed  victims. 

Indeed,   Hollywood's  black  list   is  an   almost  endless 
one,   with   many    ramifications.      And    Tom,    Dick,    and 
Harry,  as  well  as  Mr.  Important  Executive,  help  com- 
pile it. 

Von  Stroheim  has 
been  on  and  off  Hol- 
lywood's black  list  for 
years.  There  are  var- 
ious charges  against 
him,  all  of  which  he 
vehement!}-  denies. 

Producers  say  he's 
too  darned  tempera- 
mental. Erich  says 
he  has  a  perfect  right 
to  stick  up  for  his 
rights.  Producers 
say  he^  makes  the 
debit  side  of  their 
ledgers  look  too  red. 
He  replies  that  he 
has  made  more  box- 
office  hits  than  almost 
any  other  director 
and-,  points  to  some 
of  his  successes. 

At  any  rate,  after 
the    indifferent    sue- 


Erich  von 
Stroheim,  di- 
recting with 
his  son  on 
his  lap,  has 
been  on  and 
off  the  black 
list  for  years. 


tke  Banquet 

director  in  his  heyday,  there   is  always  the  chilling   fear 
cause  the  moguls  to  add  another  name  to  the  black  list. 

Rittenkouse 

it  the  box  office  of  his  last  two  pictures,  he  knocked  on 

after  door  of  the  studios,  and  was  turned  away.     He  was 
..-.  unhappy,  disgusted.    Then  James  Cruze,  a  fellow  direc- 
tum in  the  title  role  of  "The  Great  Gabbo."     It  look 
for  Hollywood's  big  money-bag  holders,  seeming  to 
n  tlu-ir  own  expensive  mistakes  from  time  to  time, 
had  united  in  turning  thumbs  down  on  Von  Stroheim  and  had 
kept  him  out  oi  pictures  for  s  »me  time. 

nway  Tearle  was  forced  to  withdraw  from  the  screen  at 
of  his  popularity,  because  the  powers  grew  tired  ol 
s    lemands  for  higher  nd  shorter  hour-.     For  years 

rood's  black  list.     Talkies,  however,  sent  pro- 
ducers scampering  around  for 

They  heard  Tearle's,  and 
pardoned    his     sins    of     the    past, 
he's    hack    in    the    studios, 
shaking    hands    with    all    his    for- 
merly hostih 

The   morality   clause   of    Holly- 
wood is  as  strange  as  it  is  menac- 
To   most    members   of    the 
colony  it  is  an  ever-present  worry. 
Yet  there  an  -  who  seem  not 

to  be  bothered  by  it  in  the  least. 
They  break  and  rehreak  it  without 
being  reproved.  It's  just  one  of 
things. 
But  once  on  the  black  list  for  be- 
ing involved  in  scandal,  beware ! 
This  is  the  easiest  way  of  all  to 
oblivion. 

The  most  conspicuous  sufferer  on 
this  list  is  "Fatty"  Arbuckle.  Ik- 
has  tried  frequent  comebacks,  but 
although  he  and  his  Plantation  Inn 
are  well  liked  by  Hollywood,  the 
screen  will  have  none  of  him.  I  lere 
is  a  case  where  public  opinion  cast 
the  final  voice  in  deciding  an  ac- 
tor's fate. 

On  the  other  hand,  there's  a  fair 

ingenue  who.  according  to  the  usual  procedure,  would 

have  been  banned   from  entering  pictui  n  before 

her  trunks  arrived  in  Hollywood.     She  was  involved  in 

some  years  ago  which  made  front-page  stutt 

But  she  got  around  the  morality  issue  by  entering  pic- 
tures under  tmed  name.    However,  don't  thin! 
'n't  put  up  a  t  for  her  movie  did! 

n  a  big! 
Large  num.'  '"  pictur 

tumoral.     A    few,  li 

by  entering  films  with  a 

brand-new  title  and 

there  an  ich.  if  n 

mid  cut  into  the 
ductions    al  :lar    lin- 

Hollyw !  pui 

filmed,  they  art 

that   tlv  ',K'r- 

You  can  guess  the  real 


IB 


Conway    Tearle's    voice    erased    the    black 
mark  from  his  name. 

The  late  Valentino  and  Adolphe  Men- 
jou  took  trips  abroad  to  make  pictures 
when  Hollywood  turned  them  loose.  Val- 
entino was  barred  from  the  screen  tor 
two  years.  He  committed  breach  of  con- 
tract. 

Menjou  claims  to  be  suffering  from 
mergeritis,  a  disease  which  the  talkies 
brought  along  with  them  to  Hollywood. 
In  an  interview  given  to  a  New  York 
new-  ailing    for    Paris   to 

make  films,  I  is  being  boy- 

cotted at  the  height  of  his  career,  because 
hi-   contract   had   expired,   and    produ 
wanted  to  frighten  him  into  re-signin 
a  lower  -alary  than  he  was  worth. 

He  told  the  world  in  bold,  black  print 
that  before  Ids  contract  terminated,  he 
had  made  repeated  efforts  to  talk  with 
producers,  but  was  denied  interview-.  He 
-aid  he  wrote  them  letters,  wired,  and 
telephoned — all   in   vain.      OminoU!  him. 

Intentional  or  otherwise,  the  recent  n  >'  numer- 

ous  Hollywood   i  proving  a  boomerai 

the  bankrolls  of  other  players  than  Menjou. 

■  ad  of  having  nine  <>r  ten  companies  bid  for  their 
service-  when  their  contr  ''  the 

In  the 
salari<  "   a    help,    it] 

us    in    ll"ll\ 
[1 


50 


T  h 


Our    restless    scribe    peeks    into 
odd   corners  of  the  film  capital. 


Minfif? 


WE  arc  achieving  a  fame  in  Hollywood  all  our  own. 
Hollywood  is  the  home  of  the  comic-strip 
artist.  The  artists  of  everything  from  Ella 
Cinders  to  Freckles  live  here.  I  am  told  that  after  you 
have  been  a  cartoonist  for  several  years,  it  is  very  diffi- 
cult to  think  of  new  gags  or  to  steal  them  while  they 
are  still  fresh — due  partly  to  the  fact  that  every  car- 
toonist has  to  have  his  strip  in  the  syndicate  office  three 
weeks  in  advance  of  publication. 

I  f  a  good  gag  is  printed  in  Life  or  Judge,  three  weeks 
later  it  is  sure  to  pop  up  almost  simultaneously  in  three 
or  four  comic  strips. 

Comic  strips,  instead  of  dying  natural  deaths,  are  in- 
creasing in  number.  One  of  the  big  syndicates  is  start- 
ing several  new  ones.  And  if  you  get  one  that  clicks, 
like  Ella  Cinders,  you  will  make  from  $700  to  $1,000  a 
week.  And  apparently,  you  don't  have  to  be  even  a 
graduate  of  a  correspondence  school  of  cartooning,  judg- 
ing from  the  art  work  of  the  funnies. 

If  you  read  this  high  form  of  literature,  you  will  have 
noticed  that  every  cartoon  character  goes  to  Hollywood 
some  time  during  his  career,  and  stays  there  for  a  while. 
Some  of  them  stay  in  Hollywood  permanently. 

This  is  easy  to  explain.  The  author  finds  more  in- 
spiration here  than  in  any  other  place  in  the  world.  The 
cavortings  of  the  local  goofies,  a  large  percentage,  are 
just  natural  comic-page 


o    1    1 


e   r 


fodder.  Comic-strip  art- 
ists don't  like  to  work 
any  harder  than  other 
people.  So  they  merely 
observe  and  write  down. 

Cartoon  fans,  how- 
ever, finally  entered  ob- 
jections to  the  centrali- 
zation of  all  their  fa- 
vorites in  the  movie 
colony.  They  liked  their 
characters  too  much  to 
want  them  to  fall  into 
the  hands  of  studio 
press  agents,  and  to  be 
shown  dining  with  the 
Gilberts,  Garbos,  and 
( libsons. 

So  the  bosses  of  the 
strips  have  ordered 
('hire  Dwiggins  and 
Will  Blosser  away 
from  here  to  save  their 
strips  from  the  igno- 
miny of  going  Holly- 
wood. Others  may  fol- 
low. They  complain 
that  it's  like  leaving  an 
i  >pi  n  diamond  pit  to  dig 
peat. 


Imagine   a  poor  tourist's   injured  feelings   when  a 
theater  manager  caught  him  chiseling  up  the  floor. 


B$  Neville  Rea? 

Illustrated  by  L,ui  'fSrugo 


4  «  *  J  /  -A^sS 


Fans  often  become  furious  when  their  favorites  are 
panned  by  magazine  writers. 

In  truth,  these  criticisms  of  the  stars  are  often  unfair 
and  depend  largely  on  whether  the  writer's  breakfast 
agreed  with  him.  Sometimes  another  writer  tells  him 
the  star  is  impossible,  and  the  resultant  prejudice  in  the 
interview  is  the  thing  to  be  expected  of  those  incapable 
of  drawing  their  own  conclusions. 

There  aren't  many  bold  speakers  left.  If  you  fans 
don't  like  a  story,  what  do  you  think  the  studio  that  em- 
ploys the  star  thinks?     Plenty. 

Every  time  a  writer  says  something  the  studio  doesn't 
like,  they  call  him  on  the  carpet  and  plead  with  him  to 
lay  off.  If  he  doesn't,  the  studio  gates  are  barred  to 
him.  But  strangely  enough,  the  most  successful  fan 
writers  are  those  who  are  barred  from  several  lots. 
Their  style  may  not  please  the  studio,  but  it  does  please 
the  editor,  and  what  would  a  magazine  be  worth  if  it 
was  filled  completely  with  blah ! 

The  life  of  a  fan  writer  is  hectic.  So  is  the  interview 
life  of  a  free-lance  player  who  has  no  studio  to  back  him 
up.  Every  interview  is  a  compromise  between  the  inter- 
esting black  truth  and  the  horrible  white  lie. 

Producers  who  can't  even  speak  English  properly  are 
now  producing  French,  German,  and  Spanish  talkies. 

They  are  innocent  children  in  the 
hands  of  their  foreign  departments. 
They  never  know  whether  a  lan- 
guage is  correctly  spoken. 

A  well-educated  foreign  actor, 
who  speaks  perfect  English,  tried  to 
get  a  role  in  one  of  these  pictures. 
He  was  turned  down  cold.  The  pro- 
ducer said,  "You  can't  speak  Span- 
ish.    Your  English  has  no  accent." 

One  foreign  supervisor  submitted 
a  French  script.  The  producer  told 
him  to  get  a  college  professor  to 
look  it  over.  He  did.  The  "prof" 
O.  K.'d  it,  collected  the  money,  split 
with  the  supervisor,  and  returned  to 
his  history  class.  He  didn't  know 
French  from  Siamese. 


The  song  writers  and  things  like 
that  who  are  out   here   from   New 
York  are  abashed  at  our 
use  of  superlatives. 

They  never  heard  most 
of  the  ones  here.  Back 
East  about  the  strongest 
thing  used,  before  the 
mental  merger  of  East  and 
West  took  place,  was  "sen- 
sational" and  "on  down 
the  scale."     Hollywood  be- 


The   Stroll 


er 


pins  at  "sensational"  and  builds  up  through  "colossal," 
trgantuan,"  and  "superepic,"  to  words  out  ol  reach 
beyond  the  clouds. 

Id-brick  salesmen  arc  reaping  a  harvi 
They  sell  everything.     The  tourists  arc  the  bi| 
fish,  followed  closely  by  the  stars  and  executives  of  the 

studios. 

Tho  tourist  contingent  falls  for  anything  connected 
with  a  star.  They  buy  used  cars  at  exorbitant  prices. 
They  buy  Pickfair  for  $10,000  down.     They  buy  the 

Carthay  Circle  Theater. 

The  eon  men  also  work  in  preview  crowds  and  sell 
the  picture  just  witnessed  to  tourists  for  use  in  their 
home  towns.  The  stars  buy  fake  antiques  and  bonds, 
while  the  producers  frequently  get  stuck  with  stories 
that  haven't  clear  titles.  One  o\  Edward  Everett  Mor- 
ton's fell  in  this  classification.  The  studio  bought  the 
talking  rights  from  the  stage  producer  and  made  the 
picture.      When   th<  through,   they   were   gently 

informed  that  the  screen  rights  were  owned  by  an- 
other producer  who  would  sell  for  $50,000.  lie  got 
his  price. 

g  is  this.  When  a  stage  play  is  put  on. 
the  territorial  rights  to  produce  it  on  the  boards  are 
sold.  There  are  Western  rights.  Southern  rights,  Eng- 
lish rights.  Australian  rights,  et  cetera.  Before  the 
talkie  version  of  the  play  can  he  shown  in  those  terri- 
tories, the  screen  producer  must  buy  the  rights  from  the 
local  franchise  holder.  The  result  has  been  greater 
caution  in  buying,  hut  for  a  while  the  producers  were 
getting  stuck  plenty  by  these  sectional  owners. 

A  screen  writer  submitted  a  story  to  a  studio  about 
months  ago.  They  held  the  story  for  several  months, 
and  then  returned  it  with  the  customary  regrets. 

A  week  or  so  ago  the  writer  succeeded  in  selling  him- 
self to  the  same  studio 


"Let's    mi-,"   mused 
star,    "nothing    much, 
went    to   the    Embassy 
lunch  yesterdaj .    And 
yes     1  got  a 

divorce     la8t 

week." 
Mary  Pick 

ford    threw  *$*>•' >^ 
the      1  o  c a  1 

new  s  paper 

men  into  ,  \ 
citement   re- 
cently  when 

she  phoned 
them  to  come 
to  her  home 
for  an  im- 
portant an- 
nouncement 
The  writ- 
ers b  r  o  k  e 
dates  right 
and  left  to 
he  there. 
Speculation 
w  a  -.     rife, 

with  the  pre- 
ponderance 

of   opinion   expecting    Miss 
retirement  from  the  screen. 

With  a  score  or  more  assembled,  she  got  up  and.  with 
the  greatest  poise,  made  her  big  announcement.  Mr. 
Tinstein  had  been  appointed  supervisor  of  her  next  pic- 
ture. The  reporters  were  so  provoked  that  Mr.  Tin- 
stein, or  whatever  his  name  is,  lias  not  yet  received  any 

publicity. 


A   bright   young   officer   pinched  a   foreign 

extra,    because    he    thought   a   dance    chart 

was  the  map  of  a  fort. 


Pickford   to   announce   her 


-taff  writer. 

"Now,"  said  the  sce- 
nario editor.  "I  want 
you  to  write  me  an 
original  story.  Here  are 
a  bunch  of  synop- 
Read  them  over  and  get 
me  an  idea  to  weave  a 
story  around." 

The  writer  followed 
instructions.  He  came 
across  a  studio  copy 
of  the  scenario  he  had 
submitted  six  months 
earlier.  Investigation 
disclosed  that  the  whole 
pile  of  stories  given  him 
to  read  had  been  ob- 
tained in  the  same  wa) 
— by  copying  submitted 
stories,  and  then  re- 
turning the  originals  to 
auth 

This  anecdote  doesn't  quite 
run  true  to  form.  This  par- 
ticular writer  immediately  re- 
signed. Most  of  them  would 
have  made  copies  of  the  stories 
fir-t.  and  then  tried  to  sell 
them  to  another  studio. 

A  star  called  up  her  agent. 
"  1  low's  everything  i 
the  agent.    "What's  new 


Talking  blimps  have  provoked  patient  H611ywoodites  to  drastic 

action. 


^v     V- 


' 


T  went  to  high  school 
with  one  of  our  leading 
male  star-,  back  in  a 
Middle-West  city. 

Before  I  had  ever  de- 
cided to  go  West,  this 
a  young  man  was  already 

in  Hollywood,  extra- 
ing.  Bui  he  visited  the 
home  town  in  what.  I 
was  to  discover  later, 
was  the  true  Holly, 
manner.  He  brought 
with  him  a  picture  of  I'ola 
Negri's  house,  and  the  local 
papers  went  for  his  publicity 
in  a  hit,'  way. 

A   couple  of   years   la' 
moved  to   Hollywood  and  dis- 
covered   that    he   had    1  i K • 
sold   Hollywood  on  his 

fiction,  a   family  of   mil- 
lionaires  of 

t ion.  I  have  never  given  him 
away-  -it  probably  wouldn't  do 
any  ^mx]  if  I  did— bttl  I  men- 
tion tlii  )  the 
same                   with  a   i 

now  practiced  it;  : 

On 

parked    with 
them,    "Guide    to    t' 


52 


Marked  Men 


Lip    prints    on   the    shining    countenances    of    our    heroes 
speak  more  eloquently  of  their  love-lives  than  any  mere 

writer  could. 


Alexander  Gray,  left,  we 
always  thought  absorbed 
in  cultivating  his  bari- 
tone, but  his  picture  with 
Alice  Jordan  tells  a  story 
far  more  hectic. 


H 


1 


Jack  Oakie,  right,  sheep- 
ish and  submissive  to  the 
chorus  girl  who  has 
marked  him  for  her  own. 


Jack  Mulhall,  below,  says 
there's  safetv  in  numbers. 


^P* 


Robert  Montgomery  and  Ra- 
(|uel  Torres,  below,  say  they're 
only  showing  what  happens 
with  careless  use  of  the  new 
make-up  required  for  Techni- 
color scenes. 


far*  4g?l 


K\ 


'V 


<# 


****& 


Just  a  little  kiss  from 
Janet  Joyce,  below,  and 
Walter  Pidgeon  is  in- 
genuously aghast  at  the 
consequences. 


( 


~?£ir        "^ 


/. 


-k~ 


.«|M*  **' 


In  The  Springtime 

A  young  man's  fancy  can  easily  turn  to  Yola  d'Avril.  in  April  or  in 
August,  and  besides,  her  budding  career  is  well  worth  considering. 

By  William   H.  McKegg 

YLA  D'AVRIL  is  an  unfolding  sensation.    Her  talents  are  >»t ill 
in  the  bud.     I -ike  her  name      April — they  are  in  the  spin 
Iter  career.     Should  this  sound  too  poetic,  please  excuse.      It 
you  knew  Yola.  you'd  say  the  same. 

S  in  she  ought  to  appear  in  roles  big  enough  that  more  of  her 
work  might  he  seen.  So  far  she  has  only  played  small  parts.  Net 
they  are  growing  all  the  time.  In  "The  Love  Parade."  Yola  does  an 
ctive  piece  oi  work.  It  is  only  an  episode,  hut  Yola's  presence 
can  make  an  episode  very  telling!  She  also  plays  the  young  French 
girl    opposite    Lew    Avers,    in    "All    Quiet    on    the    Western    Front." 

Lewis  Milestone,  the  director  of  this  film,  was  Yola's  fiance 
not  long  ^ 

"'People  said  to  him.  'Why  give  Yola  work  in  your  picture 
when  the  engagement  is  broken  off?  Lewis  said.  'Why  not? 
Can't  we  he  friends  still?"  " 

-pressed  this  hit  oi  continental  philosophy  over  a  cup        V 
of  tea  and  a  slice  oi  bread,  in  my  bungalow.     She  had  dropped  ^B 

in  several  days  before  hut.  being  in  a  rush,  as  she  generally  is,  ^ 

we  had  little  chance  to  talk. 

Yola  came   from   Paris   live  years  ago.      She,   her  mother,  and    Eddy, 
her  brother,  went   to   Canada.      A   dancing  school   materialized,   because 

la  could  dance  well.     But  somehow  the  Canadians  were  not  in  a  danc- 
ing mood,  for  the  school  soon  went  up  in  smoke. 

"Every  one  said  to  me.   'You   should   go  to    Hollywood  and  try   the 
movu  -        S      I  came  and  started  as  an  extra." 

Yola  has  a  slight  accent,   but   she  does   not  harp  on   it.      She   has  a 
mellow,  persuasive  voice  which  is  rather  disturbing  to  young  bloods   romantically 
inclined.     For  them  to  hear  her  throb  "Mon  gras  cln'ri"  is  to  come  near  swooning. 

Perhaps      her     persuasive      voice 


\ 


gained  Yola  entrance  to  the  casting 
offices.  Paramount  gave  her  her 
first  work,  and  even  publicized  her 
as  Gloria  Swanson's  protegee.  Gloria 
had  just  returned  from  Paris,  where 
she  had  made  "Madame  Sans- 
Gene." 

Nevertheless.  Yola  searched  about 
for  work.  She  was  placed  under 
contract  in  Christie  comedies,  and 
later  by  First  National.  Rut  with 
the  coming  of  talkies,  they  let  m 
of  their  contract  pla\ 

.  disperse-  with  all  s  ' 

"No  one  wants  to  hear  you: 
rows,"   she  declares.     "Every   one 
comes   to   me   with    their   troubl 
But  if  /  am  worried.  I   get  in  my 
car  and  drive  to  the  beach. 

"The   sea."   she  cor  'con- 

soles me.     I  like  to  hear  the  ha] 

ig  in  tl  • 
roll  in,  and  the  sad.  baffled  cry 
them  as  th<  ".t.     T  rerun 

ling  fine,  and   r< 
for  more  movie  atta 

There  is  rapture  >.n  the  lon< 

Ther-  •  intrudes. 

By  the  deep  sea.  and  mi: 

This  explains  the  til 
•n  in  At  d'Avril. 


She  tells  her  sob  stories  to  the  sea  and 

is  all  gayety  and  romance  when  talking 

of  herself  and  her  work. 


r 


I  Jjfln 


u  s  a  n  n  c  .    in 
"All     Quiet     on 

the  Weitu  n 
Front,"  is 
Yola's  most  re- 
cent role,  and 
that  smile 
makes  a  soldier 
swim    a    canal. 

"I    have    al- 
found, 

whin   we  think 

we    are     in     a 

^  had  plight,  that 

\  something  helps 

\  n>  from  an  tin- 

1  urce. 

V  "My  first  the- 

>  at  Heal  job 
as  a  dancer  in 
a  revue.  We 
left  I 'an-  for 
Portugal.  Play- 
ing in  Lisbon 
went  broke 
We  were  left 
stranded     in     a 

strange  city,  in  a  for- 
■i  countrj .  without  a 

-mi    to    gel    US    hack    to 

much 

■    ■ 

hi:' 

handsome 

me       i 

lad;  ki'l 

I  14 


54 


Leatrice  Joy 
proudly  d  i  s  - 
plays  a  plate 
that  once  be- 
longed  to 
Napoleon. 


THERE  is.  at  first  glance,  something  incongruous 
about  an  heirloom  in  Hollywood,  where  everything 
radiates  shining  newness.  The  town  has  grown  so 
quickly,  youth  is  abundant,  beauty  fresh  and  unscarred ; 
and  careers  reflect  the  distinctly  modern  note  of  an  in- 
dustry grown  to  power  in  this  generation. 

The  mellow  growth  that  you  feel  within  walls  else- 
where, the  memories  entwined  about  furniture  and  knick- 
knacks,  is  missing.  Decoration,  from  its  very  motif  down 
to  its  expression  in  each  specific  object,  proclaims  that  it 
was  ordered  only  recently,  from  a  prepared  plan,  delivered 
and  placed  for  effect,  not  garnered  gradually.  Even  the 
age  of  antiques   seems  to  have  been  achieved  purposely. 

For  that  reason,  the  number  of  interesting  heirlooms 
that  come  to  light  with  a  bit  of  investigation  is  surprising. 
While  there  are  fewer  treasures  of  historical  and  senti- 
mental value  than  one  would  find  in  old  weather-beaten 
homes,  they  are,  perhaps,  prized  the  more  highly;  they 
are  a  sort  of  anchor  in  the  prevailing  air  of  recent  ac- 
quisition. 

Possibly,  too,  they  escape  notice  at  first,  because  little 
fuss  is  made  over  them.  They  are  used,  not  wrapped  in 
tissue  and  taken  out  of  cedar  chests  only  on  state  occa- 
sions The  actor's  everyday  life  is  colored  by  a  more 
ornate  and  picturesque  investiture  than  the  round-steak 
and  blue-serge  cycle  of  most  people.  The  very  fact  of 
living  in  the  film  colony,  where  drama  makes  the  air 
tense,  sets  an  atmosphere  of  glamour 
in  which  the  odd  and  unusual  are 
amusing,  without  striking  a  note  too 
fantastic. 

Eating     from     Napoleon's     plate 
would   no  doubt  be  a   great   moment 


Pevfter  And 

Behind  every  glittering  new  front  in  Holly 
look  carefully,  some  treasure  that  dates  from 
looms  are  stanch  anchors  of  respectability  in 

decora 

B?  Myrtle 

to  most  boys,  little  or  big.  They  might  even  be 
lured  to  do  justice  to  spinach  served  on  it.  Once 
the  property  of  the  little  Corsican,  it  has  been  in 
Leatrice  Joy's  family  for  many  years. 

They  come  from  far  lands  and  near,  these 
keepsakes  of  the  cinema  crowd.  Ann  Harding's 
pewter  collection  dates  back  to  colonial  days,  and 
was  an  inheritance.  If  she  likes  you  very  much, 
Jean  Arthur  will  serve  your  luncheon  on  pewter 
plates  that  were  given  to  her  mother  umpty-ump 
years  ago.  Louise  Fazenda  and  Joseph  Cawthorn 
also  have  interesting  assortments  of  pewter  and 
brass,  while  George  Fawcett  prefers  his  old  china 
to  modern  sets. 

June  Collyer  had  an  Irish  pitcher,  a  keepsake. 
Recently  her  brother  was  practicing  a  mashie  shot 
in  the  living  room,  where  the  pitcher  stood  on  a 


Photo  by  Fryer 


Louise  Fazenda 
has  some  old  lace 
that  adorned  an 
ancestor's  nightie 
umpty-ump  years 
ago. 


OldL 


ace 


wood,  you  will  find,  if  you 
the  dim  past,  and  these  heir- 
a  sea  of  dizzy  modernity  and 
tion. 


Gebhart 


table.    Nothing  is  safe  when  par- 
lor golf  is  in  prog]  -  ss. 

Renee  Macready  pours  cream 
from  a  Queen  Anno  silver-luster 
pitcher,  a  legacy  from  her  grand- 
father. And  when  Lawrence 
Gray  invites  one  to  tea.  it  is  not 
difficult  to  imagine  oneself  sail- 
ing the  seven  seas.  For  his  silver 
tea  set.  inherited  from  his  sea- 
faring grandfather,  was  the 
service  in  the  captain's  cabin. 

The  Edmund  Lowes'  ornately  carved  set  is  several 
generations  old.  Its  large  tray  will  hold  more  than  the 
twelve  pieces,  consisting  of  two  samovars,  cups  and 
saucers,  sugar  howl,  and  cream  pitcher. 

Fay  Wray's  chest  of  silverware  was  brought  from 
England,  almost  a  century  ago,  by  her  ancestors.  Among 
William  Haines'  antiques  are  silver  candlesticks  bearing 
the  coat  of  arms  of  a  forefather. 

Paul  Revere,  who  didn't  spend  all  of  his  time  horse- 
back riding,  is  represented  in  Hollywood  homes.  John 
Mack  Brown's  small  daughter,  Jane  Harriett,  bangs  upon 
her  high  chair  a  silver  mug  made  by  Revere.  Her  only 
concern  is  that  it  be  repeatedly  filled  with  milk.  Carroll 
Nye  owns  spoons  fashioned  by  the  noted  silversmith,  in- 
scribed with  his  name,  and  given  to  Rut  us  Putnam,  a 
forefather  of  Carroll's.  The  actor  also  has  a  portable 
foot  stove  which  warmed  George  Washington's  toot- 
and  bellows,  a  candle  snuffer,  and  an  ivory  and  ebony 
sand-shaker  used  as  a  blotter. 


Alexander   Gray  had   an  old   piano   made   over   into  a   desk. 


A  glass  bowl,  an  origina]  made  in  commemoration  of 

the   Liberty    Hell,    in    1775.    and    bearing   on    it 
representation  of  the  bell,  is  Dale  Fuller's  pride. 
Without  stepping  out  of  yesterday's  mood,  yon  can 

get  all  lit  up.  And  I  don't  mean  mint  juleps,  either. 
Estelle  Taylor's  tiny  glass  lamp  has  been  in  the  family 
more  than  one  hundred  and  fifty  year--.  By  its  fitful 
light  her  great-great-grandmother  darned  the  woolens. 
It  first  burned  whale  oil.  then  kerosene.  Estelle  is  hav- 
ing it  wired  for  electricity. 

Gary  Cooper's  old  English  candle  lamp  is  believed  to 
be  the  only  one  of  its  kind  in  America.  A  brass  lacquer 
lamp,  handed  down  through  four  generations,  is  said  to 
have  been  made  in  England  about  1770.  Among  Gary's 
many  other  heirloom-,  are  a  enp  and  mug  made  from  a 
ram's  horn,  treasured  by  his   forefathers   for  a  century. 

The  outstanding  piece  in  Alexander  Gray's  hoiIU 
desk  made  from  the  old-style  square  piano  on  which  be- 
took his  first  music  lessons.     The  rosewood  holds  its 

origina]  luster.     The  pigeonh 

fashioned  from  small  bits  of  the  piano. 

Gary's  parents  were  sinf 

"I.ilowe"  holds  many  tr>  ath- 

ered  by  Ed  Lowe's  ancestors. 

high-back  purple  n  either 

of  the  fireplace,  were  brought  from 
Europe  many  years  ago.  The  dining- 
room    set    is    heavy,    with    that    sturdy. 

simple-lined  beauty  of  the  early  Mon- 
terey period.  Among  Sam  Hardy's 
colonial  furniture  is  a  high-b 

Though  genuine  works  of  art  hang 
on     the     walls     of     many     Hollyv 
home-,  comparatively 
of    them    r< 

of   th.  ruing 

from  making  possible  the  grati- 

fication of  desires  for  the  finer  tl 
A  vet 

the  mark  of  family  ip. 

- 


Gary  Cooper'* 
treasures  include 
an  old  English 
candle  lamp,  said 
to  be  very  rare 
in     this    country. 


er    of    H     p.. 

lish  bobby  paint 
in  1 


56 


Pester  And  Old  Lace 


If    she    likes    you,    Jean    Arthur    will    serve    your 
luncheon   on   ancient   pewter   plates. 

a  stable  and  gave  the  youth  his  first  commission, 
for  five  pounds.  The  woodland  scene  hangs  in 
H.  B.'s  hallway.     It  is  signed  E.  T.  Jones. 

Above  Sue  Carol's  grand  piano  hangs  an  old 
tapestry,  a  family  heirloom.  Whistler's  "Fitzroy 
Square,"  signed  "By  the  Butterfly,"  is  one  of 
Renee  Macready's  inherited  treasures.  Sally  Blane 
has  a  painting  two  hundred  years  old  of  a  Spanish 
saint,  and  portraits  of  her  grandmother,  great  uncle 
and  great-grandfather.  A  relative  of  Louise  Fa- 
zenda  brought  from  Ttaly  years  ago  a  painting  by 
a  pupil  of  Leonardo  Da  Vinci,  done  in  this  master's 
studio.  By  purchasing  it,  Louise  added  another 
rare  piece  to  lier  collection  and  enabled  the  former 
owner  to  send  his  children  to  college. 

Strolling  through  Hollywood's  ancestral  gallery, 
one  wonders  what  these  progenitors  would  have 
thought  of  film  fame  and  acting  careers!  James 
Gleason's  grandmother  would  have  approved,  for 
she  was  a  famous  dancer.  They  have  a  painting 
of  her,  done  in  Paris,  where  she  was  horn.  Rus- 
sell, fifth  theatrical  generation,  will  he  given  the 
picture  to  mark  some  important  occasion.  Carmcl 
Myers  prizes  a  portrait  of  her  husband's  great- 
grandfather. According  to  her  husband,  Ralph 
Blum,  critics  believe  it  to  be  a  Sir  Joshua  Reynolds. 
though  pari  of  the  name  was  burned  off  when  fire 
slightly  damaged  the  canvas. 

Lillian  Roth's  mother  has  a  picture  frame,  used 
to  hold  the  portrait  of  each  generation's  mother. 
Her  grandmother's  face  now  smiles  from  the  frame. 


Richard  Dix  values  "Pharaoh's  Horses,"  a  painting 
from  the  brush  of  his  mother,  Josephine  Victoria  Brim- 
mer, exhibited  in  San  Francisco  before  his  birth.  Helen 
Kaiser  also  cherishes  her  mother's  work  in  oils. 

While  bookworms  abound  in  the  colony  and  many  are 
the  costly  libraries,  the  majority  have  been  bought  by  the 
players.  Bebe  Daniels'  library  of  five  thousand  volumes 
left  her  by  her  grandfather,  Colonel  George  Butler  Grif- 
fin, aid  H.  B.  Warner's,  bequeathed  by  his  father,  are 
among  the  few  inheritances. 

However,  a  number  of  old  books  have  found  their  way 
through  generations  of  the  players'  ancestors.  "The  Let- 
ters of  Benjamin  Franklin,"  published  in  1790,  now  be- 
long to  Lon  Chaney.  Likewise,  the  Lacey  edition  of 
plays,  the  property  of  Hugh  Trevor,  H.  B.  Warner's 
collection  of  Charles  Reid's  plays,  annotated  by  his  father, 
their  star,  and  by  the  dramatist,  Albert  Le Vino's  choicest 
treasure,  the  manuscript  of  Joel  Chandler  Harris'  first 
Uncle  Remus  story,  the  book  of  sports  records,  compiled 
in  1809,  which  came  to  Harry  Gribbon  from  his  grand- 
father and  of  which  Harry  thinks  a  great  deal,  and  George 
Fawcett's  autographed  Edwin  Forest  letter  and  Carmel 
Myers'  signature  of  General  Lew  Wallace,  author  of 
"Ben-Hur." 

If  Joseph  Schildkraut  is  in  the  proper  mood,  he  may 
play  for  you  on  a  violin  made  by  Jacobus  Stainer,  valued 
at  forty  thousand  dollars.  The  man  made  only  one  hun- 
dred and  one  violins,  and  they  are  considered  finer  in 
quality  than  the  famed  Stradivarius.  And  it  takes  no 
coaxing  at  all  to  get  Ken  Maynard  started  fiddling  on  the 
instrument  which  his  grandfather  brought  from  Scotland. 
Ken's  great-grandfather  had  owned  it  in  his  day.  The 
boy  learned  on  it,  in  his  childhood, 
the  tunes  which  he  now  fiddles  for 
the  screen.  As  a  kid,  he  used  to  drag 
it  around  the  Texas  ranch  home  by 
its  strings,  but  it  seems  to  have  had  a 
sturdy  constitution  and  able  to  stand 
wear  and  tear.  Betty  Compson  treas- 
ures a  violin  which  had  been  in  a 
Southern  French  family  for  many 
generations  until  sold  to  her  husband. 
Emblems  of  peace  and  war  mingle 
in  the  actors'  treasure-troves.  One 
of  Ramon  Novarro's  most  interesting 
belongings  is  an  old  cross,  given  by  a 
priest  to  his  great-great-uncle  as  he 
set  off  on  an  exploring  expedition. 
Anita  Page's  Bible,  once  the  prop- 
erty of  a  Spanish  monastery,  was 
given  to  a  Pomares  soldier-ancestor 
as  a  token  of  gratitude  for  kindness 
to  the  monks.  It  dates  back  to  the 
fourteenth   century. 

A  martial  aspect  is  the  result  when 
Anthony   Bushell   displays   the  relics 
nearest  his  heart.     He  has  an  entire 
suit    of     armor    worn    by     Anthony 
Bushell,  knighted   for  his  service  in 
fighting  Charles  II  in  the  Parliamen- 
tary   War!      The    ancestral    Bushell 
home,    outside    of    London,    is    sur- 
rounded   by    a    moat,    allowing    en- 
trance only  over  a  drawbridge. 
Also,  there  are  stocks  in  which 
delinquents  were  punished. 

Bebe  Daniels  shows  a  sword 
on  which  no  customs  duty  had 
to  be  paid,  because,  she  says, 
it  came  over  on  the  Santa 
Maria  in  1492.  The  blade 
Continued  on  page  111 


E  s  t  e  1  le 
Taylor's 
old  whale- 
oil  lamp  is 
to  be  wired 
for  elec- 
tricity. 


.",7 


Muffled  Dames 


The  big,  strong  men  of  films 
treat    'em   rough. 


Poor  Inez  Courtney,  left,  cruelly 
bound  to  a  hatrack,  suffers  in  wild- 
eyed  silence,  while  her  captor — hard- 
hearted wretch — sits  on  a  publicity 
-  the  camera  man  t'> 
shoot. 


Blanche  Sweet,  right,  is  squelched 
during  a  one-sided  quarrel,  in  "The 
Woman  Racket.*'  by  John  Mil  Jan. 
This  enables  the  man  to  get  in  those 
hot  last  words  he  has  been  saving  up. 


When  William  Haines,  above, 
turns  dashing  Lochinvar  fresh  off 
the  college  campus  Leila  Hyams 
is   perfectly   h<  '  0   if   "The 

Girl    Said    No"   and   was   about   to 
marry   another   man. 

Ralph   Ince,  left,  adds  a  punch  to 

shushing" 
nice    Claire,     in     ' 
break,"    that    makes    her 
n  he 

pip 

at  the  hal 

k    an 


58 


T   T 


-14 

II 

w      m 


»  »   »    i  ■     ■  »     ■  ■    » 

\a^/  x_/  >»/  xjl 


T   T  .     .-/ 


»       i    m 


■    •  I 


J^ai^hi^At/lza  Ocnallert 


Reflecting  the  glitter  of  news  and  gossip  in  the  teeming  movie  world. 


LON  CHANEY  is  making  his  talkie  debut  as  a  ven- 
triloquist.    He  is  playing  in  that  old  success  of  his, 
"The  Unholy  Three."    He  will  do  a  voice-doubling 
act  in  a  side  show,  and  imitate  the  parrots  in  a  bird  shop. 

You  remember  the  picture,  doubtless.  It  was  a  huge 
hit  five  years  ago.  Chaney  and  Mae  Busch  were  its  out- 
standing personalities,  and  much  amusement  was  con- 
tributed by  the  midget,  Harry  Earles,  who  appeared 
made  up  as  a  baby.    Earles  is  to  be  in  the  talking  version. 

There  will  be  no  faking  about  Chaney's  ventriloquism. 
He   will   speak  in   five   different   voices.      Maybe   more. 
And  we'll  wager  his  parrot  imitations  will  prove  enter- 
taining.     It    will    also 
give    the    jokesters    a 
chance  to  say  of  any 
parrot  they  happen  to 
see.    "Is    that    a    real 
roily,     or     just    Lon 
Chancy?" 

Lila  Lee  gets  the 
part  that  Mae  Busch 
played  in  the  silent 
version.  Too  bad  Mae 
didn't  have  a  chance 
at  it.  her  perform- 
ance was  so  good  in 
the  early   film. 


When   Grant  Withers   finds   a  four-leaf  clover  his   thoughts   fly   to 
Loretta  Young,  and  Sue  Carol  smiles  in  friendly  understanding. 


Pride  of  Conquest. 

Warner  Baxter  is 
going  about  these  days 
with  his  chest  out  and 
radiating  smiles  of  joy. 
The  reason  is  that  he 
is  the  winner  of  the 
Academy  award  for 
the  best  acting  in  any 
picture  during  the  past 
year.  He  received  a 
gold  statuette  for  his 
portrayal   of   the  wicked   bandit  of   "In   Old   Arizona." 

The  prize  was  given  at  a  banquet  of  the  Academy 
of  Motion  Picture  Arts  and  Sciences  not  long  ago.  It 
was  the  industry's  tribute  to  one  of  its  own  members. 
Only  those  pictures  were  considered  for  awards  during 
the  year  ending  in  September,  because  the  vote  itself  is 
a  long  and  tediously  careful  affair. 

Of  the  feminine  stars.  .Mary  Pickford  received  the 
significant  tribute.  "Coquette"  was  the  production  that 
won  her  the  honor.  The  decision  did  not  evoke  quite 
the  popular  enthusiasm  from  those  present  that  Baxter's 
did.  but  when  everything  is  considered  it  was  a  very 
fair  award.  She  dared  the  talkie  adventure  when  most 
major  film  stars  were  hesitant  about  doing  so,  and  proved 
herself  a  competent  actress. 

The  picture  receiving  the  highest  approval  was  "The 
Broadway  Melody."  and  the  director  honored  was  Frank 
Lloyd,  who  was  responsible  for  "The  Divine  Lady," 
"Drag,"   and   "Weary   River." 


A  Regrettable  Event. 
Colleen  Moore  and  "her  John"  have  separated.  Ru- 
mors have  often  been  circulated  of  their  domestic  troubles. 
Colleen  always  referred  to  her  husband,  John  McCor- 
mick,  as  "my  John,"  and  generally  they  seemed  quite 
happy.  They  had  within  the  past  year  built  their  beauti- 
ful Spanish  home  in  Bel-Air. 

The  announcement  of  the  separation  came  right  after 
Colleen's  return  from  a  trip  East.  The  inference  was 
that  she  had  taken  this  to  debate  the  whole  matter.  On 
her  return  she  admitted  her  intention  of  resorting  to  a 
legal  separation.     The  house  in  Bel-Air  is  to  be  sold. 

There  is  apparently 
no  chance  of  recon- 
ciliation. 

Marital 
Improvements. 
Though  marriages 
do  not  appear  to  last, 
inquisitors  are  find- 
ing that  conditions 
are  really  improving. 
They  have  unearthed 
figures  on  the  ratio 
of  divorces  to  wed- 
dings during  the  past 
few  years,  and  find 
that  the  legal  smash- 
tips  are  diminishing 
a  little.  Three  years 
ago  there  were  eight 
to  every  ten  mar- 
riages, and  now  there 
are  only  six. 

This  can  be  im- 
proved upon,  how- 
ever, because  statis- 
tics for  the  country 
generally  show  much 

better  than  that.     Something  like  one  to  two  divorces 

for  every  ten  marriages. 

Oh,  well,  we're  not  despairing! 

Another  Stellar  Advent. 

Little  Dolores  Barrymore  is  the  newest  stellar  arrival. 
We  take  it,  of  course,  that  the  daughter  born  a  few 
weeks  ago  to  John  Barrymore  and  Dolores  Costello  will 
some  time  enter  on  an  acting  career.  How  could  she 
avoid  it,  with  two  or  three  generations  of  players  on  both 
sides  of  the  family  ? 

Dolores  is  John's  second  daughter.  He  had  a  girl 
child  by  his  prior  marriage  to  Blanche  Oelrichs,  and  he 
seems  highly  elated  over  this  second  one.  Dolores,  too, 
wanted  a  girl. 

The  Barrymores  were  very  liberal  in  their  advance 
announcement  of  the  birth  of  their  youngster.  First 
admission  of  it  was  some  time  last  September.  The 
youngster  was  born  early  in  April. 


Hollywood   High    Lights 


A   Warbling   Copy-cat. 

imposers  are  a   funny  lot,  and   Hollywood  scarcely 

knows  \it  how  to  take  these  new  musical  personalities. 
One  thing  the  song  writers  are  always  doing  is  accusing 
one  another  oi  stealing  their  tunes.  In  that  connection 
the  following  story  is  told  of  Sigmund  Romberg,  who 
wrote  "Blossom    Time."  "The  l1  rig,"  "The  New 

Moon."  and  other  operettas. 

Romberg  was  on  the  golf  course,  lie  was  about  to 
drive  a  ball  when  a  bird  in  a  neighboring  tree  piped  up, 
ami  emitted  a  melody  and  a  tew  trills.  Romberg  stopped 
and  listened. 

"That's  pretty,"  he  said,  "very  pretty  indeed!  I'm 
«lad.  my  friend.  Mr.  Rudolf  Friml  isn't  along  to-day. 
If  he  were,  he'd  probably  accuse  that  bird  of  stealing 
his  music." 

Tibbetts  Everywhere. 

Hail  another  rival  for  Lawrence  Tibbett!  Every  studio 
has  one  now.  And  the  great  thing  sought  from  each  is  the 
power  to  sing  as  loudly  ami  as  long  as  the  triumphant 
Lawrence  did  in  "The  Rogue  Song." 

The  new  Tibbett  rival  to  be  nominated  is  Robert  Chis- 
holm,  whose  voice  will  be  heard  in  "Bride  66."    We  listened 
-  one  rushes  of  this  picture,  and  his  singing  is  ex- 
ceptionally  tine.     His  voice  has  both   power  and  beauty. 

John  Garrick,  Joe  E.  Brown.  Joseph  Macaulay,  and 
Zasu  Pitts  are  in  the  cast,  with  Jcannette  MacDonald 
featured  as  the  title  character. 

Friml.  the  super-eccentric  genius 
of  the  operetta  world,  provided  the 
music.     Incidentally,  he  took  flight 
from  Hollywood  immediately  after 
it   was   completed,  disdaining   film 
contracts,    which    baffled    the   pro- 
ducers, who  are  not  accustomed  to 
dealing  with  such  marked  tempera- 
ment as  this  artist  possesses.     One 
of  Friml's  eccentricities,  we  hear, 
is  to  throw  all   his  mail 
in  the  wastebasket  with- 
out    reading     it.       Kir. 
friends  have  occasionally 
come    in    and    extracted 
huge  royalty  checks  from 
•  orrespondence,    and 
given  them  to  him.     He 
receives    them    with    un- 
concern,   it   is    said,   and 
in  the  midst  of  the  ad- 
monitions probably  hur- 
ries away  to  the  piano  to 
work  run  a  new  melody. 

Friml  is  said  to  have 
told  one  producer  he 
wouldn't  write  music  for 
him  because  he  didn't 
like  his  looks. 


Jack   Oakie,  the  star  of  "High   Society,"   shows   how 
people   get    that   way. 


Want    Babbling   Damsels. 

Find  us  a  girl  like- 
Barbara  Leonard !  Every 
producer  has  this  for  a 
slogan.      The    reason 

Leonard'-    linguistic   accomplishment-,    which    arc 
being  demonstrated  in  "Monsieur  le  Fox."     Mi—   I 
ard  qualified  in  four  versions — English,  German.  French, 
and  Italian,  and  Metro-Goldwyn  obtained  an  option  on 
her  services,  because  of  this  amazing  proficiency. 

This  picture  is  indeed  a   freak,  what   with   four  and 
five   players   all  round   on   the 

side  lines  waiting  for  their  chance  to  speak  the  lis 


Mary  Ann  Jackson  isn't  quite  sure  whether  to 
encourage  Wheezer,  that  up  and  coming  young 
fellow  of  "Our  Gang." 

the  different  versions.  (  >ne  language  follows 
right  after  the  other  in  the  taking  of  the  scenes. 
The  English  players  having  done  their  bit.  the 
Spanish  leap  up  to  perform  the 
same  scene;  then  the  French, 
German,  and  Italian  cast-.  A 
few  of  the  players  like  Miss 
Leonard  remain  throughout 
the  various  versions. 

"Monsieur  le  Fox"  has 
been  a  1  >ilt  boon  for  a  seem- 
ingly ill-fated  Hollywood  star, 
namely.    Margaret    Mann   who 
played  in  "Four  S  That 

one  role  apparently  ended  her 
•  :   she   got   only  bits  and 
extra  work   for  a  while.     But 
now,  he  can   speak 

several    langu  r   opjxT- 

tunities  may  brighten  up.   Tin- 
part  that  she  has  in  "Mon 

tx"  is  small,  but 
it    b 
French   and    German. 

nglish. 


"D.    W."    Fast    Worker 

A  I).  W.  Griffith  comeb 
Abraham    Lincoln"  spok<  lund  thi 

••!>.  W."  U  -aid  to  1 

And  no  small  attribm 

Vin- 

intensity  for  Gi 

my  worl 


60 


Hollywood  Higk  LigKts 


Yes,  she's  just  as  aristo- 
cratic at  home  as  she  is 
on  the  screen,  and  that 
isn't  nearly  enough  to  say 
about  June  Collyer, 
either. 


Walter  Huston  in  the  title  role;  Kay  Hammond  as 
Mary  Todd  Lincoln,  Una  Merkel  as  Ann  Rutledge,  Ian 
Keith  as  John  Wilkes  Booth,  and  Hobart  Bosworth  as 

Crucial  i.ec  are  some  of  the  principal  players.     Much  is 
anticipated  of  the  Huston,  Merkel.  and  Keith  portrayals. 

Gilbert   in   Briny   Role. 

There  are  high  hopes  that  John  Gilbert's  perplexities 

have  been  solved.     His  new  picture  is  called  "The  Way 

of  a  Sailor.-'  and  lie  is  going  to  avoid  sweet  love  scenes 

and    romance.      His   role    is    of    the   vigorous   he-manly 

type.  , 

Frankly,  we  have  refused  to  take  Jacks  problem  very 
seriously,  or  to  rate  him  out  as  a  star  because  of  bis 
first  talkies.  Tack  is  too  gifted  a  chap  to  be  baffled  by 
the  difficulties  "attending  a  change  to  a  new  medium.  He 
is  fundamentally  a  good  trouper  and  very  talented.  Care 
in  the  use  of  his  voice  will  overcome  superficial  defects, 
and  Jack  has  of  late  been  giving  this  earnest  study. 

Ina  Claire,  by  the  way,  lias  departed  the  Pathe  fold. 
She  made  only  one  picture  for  that  concern.     She  de- 
clared the  severance  of  relations  friendly,  and  voiced  her 
desire  to  continue  a  screen  career,  hop- 
ing for  more  latitude  in  stories. 

"Holiday,"  which  was  scheduled  for 
her.  is  now  serving  Ann  Harding,  with 
Edward  Everett  Horton  playing  oppo- 
site. Miss  Harding  also  recently  com- 
pleted "The  Girl  of  the  Golden  West." 


Bill  Farnum  as  King. 

It  would  seem  that  every  month 
brings  a  host  of  newcomers  to  Holly- 
wood, and  also  occasionally  one  or  two 
old  favorites. 

It  is  perhaps  interesting  to  note  that 
William  Farnum  is  prominently  cast  in 
Norma  Talmadge's  "Flame  of  the 
Flesh."  as  King  Louis  XV.  of  France. 
Conrad  Xagel '  appears  as  the  devoted 
lover  of  the  heroine,  but  Farnum's 
chances  are  much  more  colorful  as  the 
wily  and  venal  monarch. 

Xorma's  new  production  is  a  rather 
free  adaptation  of  the  stage  play,  "Du 
Barry,"  and  certain  transpositions  of 
historical  events  may  cause  it  to  be  not 
actually  referred  to  as  being  anything 
more  than  suggested  by  "Du  Barry;" 
The  picture  will  follow  the  original  in 
being  a  tragedy. 

Chevalier  Is  Present. 

Pleas  for  the  return  of  Maurice  Chev- 
alier to  Hollywood  are  answered.  He  is 
here  now  appearing  in  a  picture  called 
"The  Little  Cafe,"  directed  by  Ludwig 
Berger. 

Chevalier  comes  near  being  the  bright- 
est >tar  on  the  Paramount  roster  these 
davs.  among  the  male  contingent.  There 
are.  to  he  Mire,  our  old  friends,  George 
Bancroft,  Buddy  Rogers,  William  Pow- 
ell. Gary  Cooper,  and  Richard  Arlen, 
who  are  all  doing  unusually  well  in  the 
talkies. 

Summer   Stage   Hegira. 
The  spring-summer  stage  rush  west- 
ward has  begun  with  many  flourishes. 
Elsie    Ferguson,    Otis    Skinner.    Eddie 
Cantor.   I'd  W'vnn.  Marilyn  Miller,  and 


Jack  Buchanan  are  among  those  "registered  in"  for  the 
season.  The  names  of  several  are  familiar  from  the 
silent  days.  Miss  Ferguson  starred  in  various  pictures, 
including  "Forever"  adapted  from  "Peter  Ibbetson," 
with  Wallace  Reid.  Eddie  Cantor  and  Ed  Wynn  were  • 
both  in  silent  comedies  a  few  years  ago.  Otis  Skin- 
ner's "Kismet"  was  an  alluring  feature  of  its  time — ten 
years  ago. 

The  hegira  to  the  Coast  is  bringing  sundry  other  stars 
— Adolphe  Menjou,  Claudette  Colbert.  Percy  Marmont, 
Madge  Kennedy,  and  Theodore  Kosloff  among  them. 

Menjou  intends  to  stay  in  Hollywood,  and  is  in  a 
Paramount  production  to  be  made  in  five  languages. 
Menjou  can  crualify  in  most  of  the  versions.  He  is 
expert  at  French,  and  knows  also  German,  Spanish, 
and  Italian. 

An   Opera   Star's   Domicile. 
Grace   Moore   has   achieved   exclusiveness.     She  has 
found  a  home  on  a  hilltop  far  removed  from  the  mad- 
dening crowd  of  Beverly  and  other  residential  environs. 
Miss  Moore's  house,  to  be  exact,  is  in  the  vicinity  of  the 
Metro-Goldwyn  studio,  and  is  practically  the 
only  large  mansion  in  that  immediate  vicin- 
ity.    It  is  especially  distinguished  by  its  large 
and  elaborate  music  room. 

The  opera  star  gave  a  party  there  to  sig- 
nalize her  advent  into  moviedom.  An  out- 
door luncheon  was  held  for  the  numerous 
press  representatives,  who  enjoyed  themselves 
at  will,  but  mostly  in  races  in  the  swimming 
pool. 

Miss  Moore  herself  did  not  partake  fes- 
tively of  the  gathering  and  its  sports.  She 
is  rather  quiet  and  reserved.  The  only  star 
in  attendance  was  Beatrice  Lillie.  who  is  a 
friend  of  Miss  Moore's. 

As  yet  this  opera  star  is  just  a  name  to 
most  of  the  fans,  but  as  you  possibly  know, 
she  is  appearing  opposite  Lawrence  Tibbett 
in  his  next  picture. 

Avoirdupois   Handicap. 

They  must  be  running  a  race  to  lose  weight 
these  days — the  girls  who  took  on  a  little  too 
much  poundage.  Three  of  them  were  en- 
trants in  a  recent  handicap,  namelv  Marie 
Prevost,  Molly  O'Day,  and  Mary  Miles  Min- 
ter.  Miss  Prevost  eliminated  fifteen  pounds 
in  fourteen  treatments  by  a  masseuse ;  Miss 
O'Day  by  diet  and  massage,  twenty  pounds ; 
and  Miss  Minter,  twenty-five.  Ambition  will 
not  be  thwarted,  it  would  seem,  by  excess 
avoirdupois. 

Miss  Prevost  we  thought  unusually  capable 
in  "Ladies  of  Leisure."  despite  that  she  was 
overweight  in  this  picture.  The  naturalness 
of  her  voice  in  the  talkies  is  winning.  Miss 
Minter  and  Miss  O'Day  may  be  heard  soon 
on  the  screen. 


Cody    Night-club    Hero. 

The  career  of  Lew  Cody  is  duly  re- 
sumed. He  is  cast  as  a  night-club 
dancer  in  Gloria  Swanson's  "What  a 
Widow  !"  It  was  decided  that  Ian  Keith, 
originally  cast  for  the  part,  was  not  the 
correct  type,  and  Cody  replaced  him. 

This  is  the  first  break  Lew  has  had  in 
months.  Illness,  the  death  of  Mabel 
.Normand,  and  other  events  interfered. 
Perhaps   his   new   start   will   keep   Lew 


** .-.  r 


Hollywood   High   Lights 


&] 


ng  for  some  time.     He  lias  always  shown  plenty   oi 
ability,  ami  his  voice  is  said  to  record  splendidly. 

Marjorie    Daw    a    Mother. 

Those  who  remember  Marjorie  haw  in  the  h< 
her  screen  career  will  be  interested  to  know  that  she  is 
the  mother  oi  a  baby  girl.     Miss  Daw  hasn't  played  in 
pictures  for  about  two  years.    She  is  the  wife  of  Myron 
I  in  executive  work  in  the  stn<! 

Baby  "Sparklers"  Out. 

There  will  he  no  "baby  stars"  this  year.     The  Wampas 
has  decided  not  to  elect  any.     This  organization  of  ]  ■ 

;ts  can't  devise  any  suitable  coming-out  party  for  the 
debutantes,  since  their  annual  hall   has  been  abandoned. 
uently   all   the   hopeful,   bright   little   skirls   of    the 
films  will  have  t     g         Jccted. 

The  Wampas  hasn't  such  a  bad  record.  The  press 
their  O.  K.  to  any  number  of  stars  who 
remain  famous.  Their  selections  in  years  gone  by  in- 
cluded Bessie  Love.  Lois  Wilson,  Evelyn  Brent,  Laura 
La  Plante.  Colleen  Moore.  Clara  How.  Dorothy 
Mackaiil.  Marian  Nixon,  Mary  A<tor.  Mary 
Brian,  Dolon  llo,  Dolores  del  Rio.  Janet 

Gaynor,  Anita  Page.  Fay  Wray,  Loretta 
Young.  Helen  Twelvetrees.  Sue  Carol.  June 
Collyer.  Lupe  Yelez.  and  various  others.  Some 
of  these  were  chosen  very  early  in  their  careers, 
when  a  gift  t^i  prophecy  was  required  to  fore- 
see how  popular  they  were  to  become. 

Cruze-Compson   Split. 

Tames  Cruze  and  Betty  Compson  are  in  the 
throes  of  divorce  proceedings.  Betty 
complainant,  and  alleges  that  her 
home  lite  was  too  disturbed  by 
parties.  Since  she  has  resumed 
her  career  she  needs  more  rest, 
and  the  festivities  were  not  con- 
ducive to  the  proper  reposeful 
atmosphere. 

This  time  it  looks  as  if  there 
could  be  no  reconciliation  between 
Jim  and  Betty.  You  may  recall 
that  they  separated  once  before. 
At  least.  Betty  left  home  for  rea- 
sons like  those  mentioned  in  her 
suit.  Affairs  were  not  then  taken 
into  the  courts,  but  as  they  have 
been  this  time  it's  perhaps  really 
finis. 

tty  and  Jim  have  been  mar- 
ried five  years.     Their  romar.ee  began  not  long 
after  Cruze  made  "The   Covered  Wagon'"   at 
the  old  Paramount  studio. 

Incinerator  Capricious. 

Harold  Lloyd  is  all  off  incinerator-.  He  has 
one  in  his  new  home  in  Beverly  Hills,  but  he 
regards   it    with    int<  picion.      And    can 

blame  him?     His  beautiful  new  m. 

i  recently  because  of  an 
incinerator,  and  the  fire  company  was  kept  busy 
for  nearly  four  hours  trying  to  put  out  the 
blaze  I:  seems  that  the  apparatus,  contained 
in  the  h  tive.  and  that  the 

fire  penetrated  to  the  woodwork  surrounding 
the  huge  flu-  n  the 

walk  particularly  difficult  to  cxth 

The  idea  of  having  the  incinerator  in  the 
bouse  is  a  novel  one.  even  in  Beverly,  which 
inclines  to   innovations   in    construction.      The 


purpose  .'I   it-,  being  BO  built  is  that  it  m.i\   be  I 

any  floor  oi  the  palatial  residence.  Crash  1-  dumped 
right  into  an  aperture  on  each  ol  these  floors,  and  is 
consumed  l>\   the  flames  in  the  basement. 


on   the   Wing. 

is  t.i  be  picturized 


"The     Bird" 

"The   Bird  of    I'  is  to  be  pictu  last. 

And  so  it  will  soon  be  time  to  gel  out  the  ukuleles  again. 

Filming  this  famous  sta^e  pla)  has  been  planned  be- 
but  the  rights  were  in  litigation. 

The  suit  is  settled  now.  and  it  will  probably  be  only 
a  short  time  until  the  spell  of  Hawaii  and  its  UuigUOrOUl 
tunes   will   be  cast   over   the   picture  audiei 

The  storv   is  regarded  as  bavin  I    possibi 

with  music,  and  every  girl  in  the 


bid  to  play  the  role  of   l.uami. 


my  is  putting  in  a 


Yes,  curves  are 
coming  back  and 
Irene  Delroy 
heralds  the  re- 
turn to  normalcy 
in  "See  Naples 
and  Die." 


Veterans  to  the  Front. 
Age  is  no  bar  any  more  to  film  stardom.     The  v< 
actor   is  having  his  day,  with   fireworks.      <  \rliss 

touched  off  the  first  skyrockel  in  "Disraeli"  and  "The 
Green   Goddess."     Then   came  <  >tis   Slriru 

who  some  months  ago  was  announced  for  an 
appearance.  Latest  of  all  is  Cyril  Maude,  the 
English  actor,  who  toured  the  country  a  do/en 
\  ears  ago  in  "( irumpy." 

Maude  is  playing  in  this  success  in  pictl 
and  has  come  to   Hollywood  to  do  it.      In  the 
silent    version    some    years    ago    the    role    was 
done  by  Theodore  Roberts,  with  Wallace  Reid 
prominently  cast. 

Regarding  their  ages — well.  Skinner  is  the 
real  veteran,  according  to  "Who's  Who  in  the 
Theater."    I  [e  is  72,  Maude  is  68,  and  Arli 

Only  once  or  twice  in  past  days 
have  players  of  such  advanced 
years  been  Marred,  and  then 
never  consistently. 


Ince  Will  Prevails. 
The    late    Thomas    H.    luce's 
will   has   a   way   of   appearing   in 
the    news    every    now    and    then 
that  is  interesting.     It  is  a  rather 
intricate    document,    and     O 
the   disposal   of    a   $2,000,00 
tate.    which    the    widow   and    her 
two    sons    inherit.      I  I    the 

-.  William  T.  Ince.  is  married 
to   a    pictun  Wil- 

liams,  who   is   working   for   Fox. 
This    youth    doesn'l  the 

majority  of  his  inheritance  until  he  is  forty 

is  stud)  ing  medicine. 

Mis.  Ii  ill  marry  1 1 

I  lerbert.   the  actor,   but 

'  .•  until  r   her   husband's 

death,   without   sacri: 
inheritance.     Tin 
year,  ami  consequently  the  marriage  will  | 
deferred  until  thai  til 
h  • 
future   for  his   wife  and    family.      Ii 
curred  in   192 

The   Chimes  of  June. 
Li  r  June 

now.     I  b>ot  <  hbsoii  and 
be  married  then,  and 
Whit,   and  Sidne\   I'.artlett  will  a' 
• 


62 


Synopsis  of  Previous   Installments. 

MONICA  MAYO  arrives  ill  Hollywood,  a  contest  winner 
hoping  to  break  into  the  movies. 

Monica  takes  an  expensive  apartment  and  buys  some  new 
clothes,  confident  that  the  people  she  has  met  will  help  her  along. 
But  she  soon  realizes  the  mistake.  At  the  Central  Casting  Bureau 
she  runs  into  Bunny  Tompkins,  an  extra  she  has  met,  who  in- 
troduces Danny  Jordan.  Danny  takes  a  deep  interest  in  the 
newcomer. 

She  nets  into  the  swing  of  things,  moves  to  Bunny's  shack, 
and  there,  at  her  first  home-cooked  dinner  in  Hollywood, 
Monica  learns  much  of  the  seamy  side  of  the  game — and  the 
human  side.  After  dinner,  on  the  porch,  she  finds  love  with 
Danny. 

Lack  of  extra  work  forces  Monica  to  take  a  job  at  a  studio 
switchboard.  Here  she  is  bawled  out  time  after  time  by  a 
temperamental  director,  and  finally  she  loses  control  of  herself 
and  tells  him  what  she  thinks.  He  rushes  in  and  offers  her  a 
part  if  she  can  bawl  out  the  hero  like  that.     It  is  her  big  break. 

PART  V. 
BITTERSWEET   SUCCESS. 

MONICA  found  herself  where  she  had  so  often 
dreamed  of  being — in  the  center  of  the  set,  right 
in  front  of  the  camera,  the  lights  focused  on  her, 
a  famous  leading  man  standing  by. 

"Now,  you're  to  talk  to  him  the  way  you  did  to  me 
over  the  phone,"  Crandall  told  her.  "You  hate  him;  he's 
done  you  dirt,  and  you're  getting  square  by  telling  him 
what  you  think  of  him.  You  say — where's  that  script? 
Oh,  yes — you  say,  'I  might  have  known  you'd  treat  me 
like  this !  After  all  I've  done  for  you,  you're  throwing 
me  over  for  that  doll-faced  blonde !  You  can't  do  this 
to  me.  Why,  you  low-down  crook,  I  could  send  you  to 
jail  if  I  wanted  to,  and  I'll  do  it — see  if  I  don't!  I  was 
good  enough  for  you  in  the  old  days,  and  I'm  good 
enough  for  you  now !'  Never  mind  if  you  can't  remem- 
ber it  exactly  this  time ;  this  is  just  a  test.  You  can  learn 
it  afterward." 

"But,  Mr.  Crandall,"  protested  an  oversweet  voice, 
"don't  you  think  this  scene  should  be  played  down  a 
bit?  I  mean,  after  all,  I'm  the  star,  and  my  role's  the 
important  one.     This  could  be  cut " 

Crandall  turned  with  a  snarl  of  fury  to  face  an  exotic- 
looking  blond  girl  whose  pictures  Monica  had  cut  from 
movie  magazines  years  before  she  even  thought  of  going 
to  Hollywood. 

"Who's  making  this  picture?"  he  demanded  belliger- 
entlv.  "Of  course,  if  you  are,  I'll  step  out  in  your  favor. 
But' " 

"Oh,  no.  Mr.  Crandall,"  the  girl  cut  in  hastily. 

Crandall  coached  Monica  with  a  fervor  that  she  under- 
stood only  when  the  leading  man  explained  it  to  her 
later. 

"I  [e's  ^>re  at  her,"  he  said,  glancing  over  his  shoulder 
at  the  star.  "Hates  her.  He's  given  orders  that  your 
part  is  to  be  built  up  at  the  expense  of  hers  all  the  way 
through.     Swell  chance  for  you — hop  to  it,  baby!" 

Monica  did.  It  was  a  little  hard  for  her  to  recall  her 
fury  at  Crandall  strongly  enough  to  play  at  fever  heat 
until  the  scene  was  finished  satisfactorily.  But  she  did 
her  best,  and  when  it  was  done,  he  patted  her  on  the 
shoulder. 

"Come  in  to  sec  me  to-morrow  morning  and  we'll  talk 
contract."  he  told  her.  "Now  run  home  and  get  a  good 
night's  sleep." 

Monica  fairly  leaped  from  the  studio,  not  bothering 
to  remove  her  make-up,  and  telephoned  Bunny. 

"Dump  those  infants  right  where  they  are  and  come 
home."  she  told  her  chum.  "Throw  up  your  job — I've 
got  a  good  one.  and  we  can  both  live  on  it  till  you  get  a 
break  in  picture 

"But — I  don't  understand,"  stammered  Bunny. 


HTie  MoVie 

Our    little    extra    girl    blossoms    into    a    regular 
dreams,  but  success  brings  a  heartbreak 


B?  I 


nez 


"Haven't  time  to  explain,  but  I  got  a  break  at  last," 
Monica  told  her  hastily. 

She  started  home.  She  might  more  easily  have  gone 
to  San  Francisco — or  to  Japan,  for  that  matter.  The 
last  bus  for  Hollywood  had  just  left.  She  took  a  Wash- 
ington Boulevard  bus,  when  it  finally  came,  on  which  she 
rode  for  forty-five  minutes,  arriving  at  Western  Avenue 
and  West  Adams  Street,  in  the  old  residential  section  of 
Los  Angeles.  She  waited  there  ten  minutes,  and  bought 
an  evening  paper,  because  she  was  so  excited  that  she 
was  afraid  she  would  break  down  and  tell  strangers 
about  her  luck,  if  her  attention  wasn't  diverted  by  the 
latest  murder.  When  the  Western  Avenue  bus  arrived, 
however,  its  lights  were  so  dim  that  she  couldn't  see  to 
read.  The  old  vehicle  jogged  along,  halted  by  innumer- 
able stop  signals,  but  finally  arrived,  after  almost  half  an 
hour,  at  Sunset  Boulevard,  near  the  Fox  studio. 

There  was  a  mob  of  people  waiting  there  for  the 
Sunset  Boulevard  bus.  When  it  came,  Monica  climbed 
to  the  top  and  lurched  down  the  aisle  in  search  of  a  seat. 
She  ached  with  fatigue ;  her  feet  had  been  trodden  on  by 
the  crowd,  her  head  throbbed — but  none  of  those  things 
mattered.     This  was  her  big  day ! 

She  got  off  a  few  blocks  before  she  reached  the  end 
of  the  line,  to  shop  extensively  in  groceries  and  delicates- 
sen stores.  She  wanted  turkey  legs,  stuffed  tomatoes, 
celery,  and  a  coconut  custard  pie.  Anything  but  beans, 
on  which  she  had  been  living  for  a  week  now.  Ironically, 
the  delicatessen  hadn't  any  of  those  things.  She  had  to 
fall  back  on  liverwurst,  pallid  potato  salad,  soggy  choco- 
late cake — and  beans. 

She  walked  eight  blocks,  the  salad  oozing  over  her 
hand,  the  sausage  slipping  from  beneath  her  arm,  and 
waited  for  her  fourth  bus.  Apparently  the  driver  either 
was  attending  a  progressive  dinner  party  or  groping  his 
way  unsuccessfully  through  the  clammy  fog  that  was 
seeping  through  the  streets.  At  last  the  bus,  which  orig- 
inally had  carried  children  to  school,  arrived.  She 
struggled  wearily  aboard,  and  rode  a  couple  of  miles, 
then  got  out  and  walked  up  the  canyon.  It  had  taken  her 
two  hours  to  get  home.  She  could  have  made  the  trip  in 
fifteen  minutes  in  an  automobile.  Never  had  she  more 
deeply  regretted  the  collapse  of  the  old  Ford. 

Bunny  came  running  down  the  steps  that  led  up  to 
their  house,  shouting  questions.  Monica  sank  down  on 
the  stairs  and  began  to  stammer  out  her  news. 

"You  haven't  gone  goofy  and  imagined  this,  by  any 
chance?"  Bunny  demanded  when  she  finished.  "It  just 
can't  be  true." 

"I'm  signing  a  contract  to-morrow,"  Monica  answered 
proudly,  "and  then  you  and  I  are  going  out  and  buy 
some  clothes,  my  child — everything  from  shoes  right 
along  up." 

"Shoes !"  gasped  Bunny.  "Not  shoes !  We  can  have 
them  sent  from  home  for  about  half " 

"We'll  buy  'em  right  here,"  Monica  insisted.  "And 
dresses  and  hats  and  manicures  and  everything." 

"Listen,  darling,"  panted  Bunny,  stumbling  up  the 
steps  ahead  of  her.  "If  you're  set  with  that  company 
you'll  never  have  any  time  to  buy  anything.  I'll  bet  the 
reason  Greta  Garbo  wears  that  man's  overcoat  all  the 


Racket 


°va^ 


lUitsfr.it, ,1  by 


/ 


featured    player,    more    than    realization    of    her 
that   takes   the   joy   out   of   it  all. 

Saoastian 

time,  is  because  the  studio  lias 
never  let   her  alone  long  enough 

tor  her  to  buy  anything  else  !" 
Bunny's  warning  proved  to  be 

sound.  Monica  worked  the  next 
three  days.  Then  site  had  a  week 
off.  but  she  had  to  report  at  the 
studio  every  morning  at  nine,  and 
remain  till  five,  because  the  pub- 
licity department  would  need  her 
when  it  got  round  to  it.  At  last  a 
charming  woman  in  the  filing  office 
of  t:  tment  made  up  her  bi- 

ography. 

( >bediently  Monica 
?ave  the  facts  of  her 
life.  The  woman  shook 
her  head  sadly. 

"No,  I'm  afraid  that 
won't  do  at  all."  she 
said.  "You  see  we 
have  a  home  girl,  and 
a    winu  girl. 

and  a  girl  who  swims. 
and  one  who  reads 
You  must  be 
quite  different.  Now, 
what  is  there  left  for 
you  ?" 

Monica's  mouth  took 
on  a  sarcastic  twist. 

"Are  any  of  your 
girls  interested  in  act- 
ing, perchance?"  she 
inquired. 

acting's     for 
the  studio."  answered 
the    woman.      "Now, 
you  might  be  musical, 
with  sound  effects,  audiences 
would  expect  you  to  prove  it. 
I  have  it !     You  must  make 
a  hobby  ning  cb>- 

Only  don't  let  us  catch  you 
taking  that  seriously.  The 
wardrobe  department  will 
see  to  yours,  of  course.  Rut 
we  can  do  articles  about  how 
you  make  your  own  things, 
and  we'll  photograph  you  with 
a  sewing  machine,  and  show 
you  working  with  water  colors 
and  fabrics — that'll  be  fine." 

The  next  day  the  publicity  department  began  thinking 
up  things  for  Monica  to  do.  It  was  a  blazing  hot  day. 
so  they  took  pictures  of  her  with  some  -mall  i 

sed  to  have  brought   them   in   from  the 
tnewhere— and 
d  in  the  glare  of  the  lights  setting  them  up.  trim- 
ming  them,   gazing   at    them    in    rapture,    till 
wanted  to  see  another  shrub. 


The  following  da)   was  cold.     So  the)   took  pictures 

of  her  out  >>n  the  studio  lot,  wearing  a  thin  white  robe 
and  clutching  a  bunch  i  Monica  cau 

a  snuffly  cold  and  fought  with  tin-  dapper  young  man 

from   the   hast,   who  posed   the   pictures,   and   was  all 

to  drag  her  to  the  beach  the  next  morning  for  Lathing 
stuff. 

Danny  returned  that  evening.     Monica  had  thought 
it  would  be   fun  to  tell  him  her  good  news,  hut  she  was 


Still 


VK>DC*yV  Vr*>\ 


"Oh,    Danny,    darling,    I've    been   longing   to   see 
Monica.       Bunny     draped     a     wrap 
around   her. 


tired  and  discouraged  that  -he  could  only 
think  aboul  her  troubli 

"You'r<  ood-natured,   sweetheart,"  he 

told  her.    "They're  imposing  on  you.     You  gol  your  first 
break  through  being  disagreeable.    Well,  play  it  up.    « ■>  I 
a  reputation  for  being  nasty  and  they  won't  rid- 
any  mon 

ny  had  a  chain  >  nail   pari   at   the  Sir 

studio,  and  si  •  d  with  him  over  it. 

"\\  •  head  at  last 

night 


01 


Tke  St 


ars 


Few,  if  any,  opportunities  are  given 
critics.  They  must  smart  in  silence  over 
them  outrageous  misstatement.  And  so 
them  an  opportunity  to  give  their  version 


By  Samuel 


Photo  tiy  Spurr 

Poor  Lupe  Velez!     Just  because  she  admired  an  inter- 
viewer's ring,  he  said  that  she  was  a  gold  digger. 


THERE  is  no  perch  in  the  world  quite  so  pre- 
carious as  that  to  which   the  stars  cling — the 
pinnacle  of   fame.     In  hold  relief  against  the 
sky  they  are  an  easy  target  for  rocks  and  mud  slung 
by  envious  fellow  players,  disgruntled  writers,  and  an 
unsatisfied  public. 

Realizing  this,   T   have   often  wondered,   if   all  the 
stars    who    have    been    panned    in    interviews    had    a 
chance  to  present  their  side  to  the  public,  how  the  revised  ver- 
sion would  read.     Curiosity  being  one  of  my  besetting  sins,  I 
went  to  see  Richard  Barthelmess. 

"The  most  recent  charge  laid  against  me,"  he  said,  "is  that 
I  insulted  a  group  of  girls  in  Mexico  by  refusing  to  see  them. 
It  may  be  true  that  I  refused  to  see  them — I  don't  recall.  But 
I  do  know  that  I  did  not  insult  them.  You  know  as  well  as  I 
that  there  are  always  women  of  a  certain  class  who  want  to 
'contact'  every  celebrity  they  can.  They  call  you  up  and  want 
you  to  go  on  a  quiet  party,  and  think  you  should  break  your 
neck  to  accept.-  They  don't  stop  to  think  that  any  one  in  the 
public  eye  probably  receives  half  a  dozen  such  invitations  a  day. 

"It  is  po^iHr  !  did  not  hear  the  young  lady  say  'a  group 
of  girls'  and  assumed  that  she  was  one  of  the  women  of  whom 
I've  spoken.  If  so.  I'm  sorry.  But,  too,  if  I  had  met  every 
one  who  was  interested  enough  to  want  to  meel  me,  I'd  have 
had  no  lime  for  anything  else.  Ask  any  star  who's  ever  made 
a  personal-appearance  tour,  and  they'll  tell  you  the  same  thing. 

"Another  time,  a  young  lady  came  to  interview  me  and  said 
I  had  insulted  her  and  done  everything  hut  call  her  a  liar. 
What  she  didn't  say  was  that  it  was  her  first  interview  and  that 
she  was  totally  inexperienced.  She  had  some  gross  misstate- 
ments in  the  finished  copy  when  she  showed  it  to  me,  and  I 
said.  'That's  not  true,  meaning  that  it  was  not  accurate.  Be- 
ing  very  sensitive,  she  misunderstood  me.     Having  been  mis- 


represented to  the  public  on  several  occasions, 
1  naturally  become  excited  when  I  see  some- 
thing that  is  likely  to  add  to  their  misconcep- 
tion of  me. 

"Another  interviewer  called  and  had  numer- 
ous unpleasant  things  to  say,  because  she  had 
to  walk  up  a  hill  to  my  house.  In  the  first 
place,  the  studio  always  arranges  appointments, 
and  had  the  young  lady  said  she  had  no  means 
of  getting  to  my  place  they  would  gladly  have 
sent  a  car  for  her.  All  they  told  me  was,  'Miss 
So-and-so  will  be  at  your  home  at  twelve 
o'clock  for  an  interview.' 

"In  the  second  place,  had  she  told  them, 
when  the  meeting  was  arranged,  that  it  would 
be  inconvenient  for  her  to 
get  to  my  home,  I  could  have 
seen  her  at  the  studio,  or 
some  convenient  place.  Most 
writers  prefer  interviewing 
you  in  your  home,  because 
you  are  free  of  the  interrup- 
tions that  are  unavoidable  in 
the  studio. 

"I  have  been  se- 
verely criticized  for 
permitting  Johnny 
Murray  to  double  for 
me  in  singing  AVeary 
River.'  It  was  impos- 
sible to  omit  the  sing- 
ing and  still  have  a  pic- 
ture. Unfortunately, 
I  cannot  sing.  Had  I 
attempted  to,  it  would 
have  completely  de- 
stroyed the  illusion  of 
the  film,  because  no 
one  would  have  be- 
lieved that  a  person 
who  sings  as  I  do 
could  have  built  the 
reputation  for  himself 
that  the  convict  did. 

"Far  from  trying  to 
trade  on  Murray's  tal- 
ents, his  doubling  for 
me  was  the  best  thing 
in  the  world  for  him, 
because     it     was     the 
means   of   his   getting 
a    contract    with    the 
studio. 
"The    fans    understand    that 
many  of  the  high  dives  and  par- 
achute leaps  they  see  in  pictures 

Billie   Dove   denies   that   her   ca- 
reer  wrecked    her    marriage. 


Hit  Back 

players  to  answer  their  interviewers  and 
the  slings  and  arrows  of  what  seems  to 
Picture  Play,  with  its  usual  fairness,  offers 
of     some     widely     discussed      interviews. 

Rickard   Mook 

arc  performed  by  doubles.  They  know  that 
pictures  of  people  balancing  on  the  edge  of 
buildings  supposedly  high  in  the  air  are  really 
filmed  about  three  or  four  feet  from  the 
ground.  They  never  mind  any  of  those  things, 
because  they  add  to  the  illusion,  so  why  should 
they  object  because  1  had  a  voice  double  for 
the  same  purpOSt  ? 

"As  to  advertising  "Hear  Richard  Barthel- 
ss  sing  and  talk/ the  sales  department  was 
s    msible  for  that.     I  had  nothing  to  Ao  with 
it.    The  only  thing  T  could  do  was  the  thing  1 
did  d    as  -  on  as  1  discovered  it.  and  that  was. 
first,  to  tell  the  press  that  I  had   not  done  the 
singing  and.  second,  to  make  them  cut  it  out 
lie  advertising. 
"I  hope,  if  you  will,  you 
can    make    the    fans    under- 
stand that  I  want  and  appre- 
ciate their   favor,  and  that   I 
am    grateful    for    the    space 
:i  me  by  the  press,  when 
it  represents  me  accurately." 
I  have  interviewed  some  of 
the  most  important 
names  in  the  indus- 
try,   and    have    he-  , 
come  intimate  with                 / 
a  few  of  them.     I 
know  Mr.  Barthel- 
mess    only   slightly. 
yet   I  can  think  of 
no     one     whom     T 
uld     rather    call 
"friend,"  which  in- 
dicates that  at  times, 
certainly  in  my  own 
case,  he  is  n 
hard  to  get  along 
with  as  has 
represe: 

■nip- 
son  is  another 
who  has  come 
in  for  what 
the  pla 
call  misrep- 
'■ntation. 
When    ap- 
proached 
on  the  sub- 
ject,   Betty 
was  properly 
enthusiastic. 


Photo  !>>■  I>unr«n 

Olive  Borden  gives  her  explanation  of  why  a  celebrated 

interview  emphasized  her  physical  charms  instead  of  her 

mental  ones. 


Betty  Compson 
was  accused  by  a 
writer  of  having 
married  for  money. 


"This  is  a  swell  idea!      Usually  writers  conic  to 
us.   write   what    they   please,   and    leave   US   holding   the 
bag,  because  we  have  no  out.    For  instance,  lasl  spring 
Vivienne   Segal   came   to    Hollywood.     She   was   well 
known  on  the  stage  but,  feeling  that  the  picturegoing 
public  should  be  made  acquainted  with  her.  she  engaged 
an  overzealous  press  agent  who  conceived  the  brilliant 
idea  that  if  she  could  he  drawn  into  a  Hollywood  feud 
it  would  assure  her  more  publicity  than  anything  • 
Accordingly.  I  was  quoted  a>  saying  derogatory  t1 
about  stage  actresses  in  general,  and  Miss  Segal — whom 
I   had   never  met   at   the   time     in   particular.      She.   in 
turn,   was  quoted   as   low-rating  the   pictun 

The  whole  thing  was  the  product  of  her  pri  t"s  imagination, 

and  there  wasn't  a  word  of  truth  in  it. 

"Since  then  I  have  met  her.  apologized  for  being  quoted  on  boi 

thing  I  hadn't  said,  and  she  apologized  to  me  e  hadn't 

said.      We're   very  good    friends  now.   and    I'm   one  of   her   stroi 

"<  )n  another  o.  .  writer  whom  I  greatly  admit 

Story  about  me.  hut  in  the  middle  of  it  she  gently  insinuated  that 
I  had  married  my  husband  for  m 
US  knows  how  ridiculous  that  is.     1  buy  all  m 
half  to  the  upkeep  of  our  home,   and    I'm   not   e 
from  Mr.  Cm 

All  of  which  is  true.     Miss  Compson  i  <»f 

the  wcalthi'  n  in  pictures,  and  i  about  the 

thing  to  attract  : 

fiery  Lupe  '  rtainly  i 

what  si..  tiled,  bul 

n  enough  to  r  grievances.    Al  ed  down 

at  the  start,  hut  she  hit  l! 


66 


Tke  Stars  Hit  Back 


Photo  l)y  I.onEivorth 

Richard    Barthelmess    expresses    himself 

about  that  famous  group  of  disappointed 

schoolgirls  in  Mexico   City. 


"One  man,  he  coom  see  me  for  fifteen 
minute.  He  say  I  am  lazee,  eensolent, 
destructive,  gold  deeggaire.  How  he 
know  ?  I  should  sue  heem,  but  I  think 
if  person  ees  bad,  God  take  care  of 
heem.  so  I  do  nawthing.  But  I  woork 
from  nine  to  seex  in  the  morning,  and 
then  start  again  all  over.  Ees  that  lazee? 
An'  eensolent?  Ha!  Every  one  who 
woork  with  me  say  how  easy  to  get 
along  T  am  weeth.  Ees  that  eensolent? 
An'  gold  deeggaire!  Thees  man  have 
on  reeng  and  I  say,  'Wot  a  beautiful 
reeng!'  An'  he  tell  me  eets  heestory. 
An'  I  say  'How  interesting.'  But  mostly 
he  talk  of  heemself,  so  how  do  I  'ave 
chance  to  say  something?  Eef  I  cry 
and  stamp  my  foots  and  say,  'Damn  eet ! 
T  want  that  reeng !'  then  be  'ave  right  to 
say  I  am  gold  deeggaire.  But  I  do 
nothing  like  that.  I  only  say  eet  ees 
pretty  reeng.  An'  he  say  I  am  destruc- 
tive. I  ave  never  destructcd  anything 
ecu  my  life. 

"An'  another  time  T  woork  on  set  of  'Where  East  Is 
East.'  weeth  I. on  Chancy.  All  day  I  woork  on  back  lot 
at  M.-G.-M.,  ecu  January,  weeth  nothing  on  but  leetle 
brassiere  and  short  skirt,  wheeeh  ees  my  costume  een 
picture.     I  catch  cold  and  Mr.  Browning,  the  director, 


Charles   Morto 
the   black    eye 


he  say,  'Lupe,  you  go  home.  You  'ave  catch 
cold.'  So  I  go  home,  an'  so  tired  I  am  that 
when  I  get  eenside,  I  curl  up  at  fireplace  an' 
go  sleep. 

"An'  Garee  ees  there.  And  presently  he  say, 
AVomans  ees  here  for  eenterview  you.  Poob- 
leeceety  'ave  sent  her.' 

"So,  seeck  as  I  am,  I  say  'Show  her  een'. 
An'  from  my  cold,  my  eyes  have  wataire  and 
my  make-up,  which  I  am  too  tired  to  take  off, 
he  have  run.  So  thees  woman,  she  say,  'I  can- 
not interview  you  weeth  make-up  like  that.  I 
must  see  how  pretty  you  are.'  So  I  spend  hour 
taking  off  old  make-up  and  put  on  new  and 
wen  eenterview  coom  out,  she  say  I  'ave  take 
off  brassiere,  which  ees  not  so.  Eet  ees  my 
costume  een  picture.  And  then,  after  all  that, 
while  steell  seeck,  I,  myself,  drive  her  home. 
And  then  she  write  like  that  about  me !" 

Een  the  excitement,  Lupe  my  'and  'ave  grab 
hold,  and,  boy,  howdy !  One  touch  like  that 
and  it  is  easy  to  understand  why  the  silent 
man  of  the  great  open  spaces  goes — not  Holly- 
wood, but  Lupe. 

Evelyn  Brent,  too,  has  come  in  for  her  share 
of  trouble.  She  was  once  accused  of  permit- 
ting a  woman  reporter  to  wander  around  in 
the  rain  looking  for  the  street  car  when  Betty 
herself  was  driving  within  a  block  of  the 
woman's  home,  on  her  way  to  the  studio. 

"What  happened  was  this,"  said  Betty.     "I 
had  just  come  home  from  the  studio,  and  put 
on    some    lounging    pajamas.      I    had    invited 
Priscilla  Dean  for  tea,  when  suddenly,  without 
an    appointment,     this    writer    appeared    and 
wanted  to  interview  me.     I  had  her  shown  in 
and  the  first  thing  she  wanted  me  to  do  was  to 
send  Priscilla  from  the  room.     I  refused  to  do 
this,  as  I  had  invited  Pris- 
cilla and  had  not  asked  the 
reporter. 

"When  she  got  ready  to 
leave,  she  asked  the  way 
to  the  car  line  and  I  di- 
rected her.  As  I  had  just 
returned  from  the  studio, 
the  part  about  my  going 
back  there  and  refusing  to 
give  her  a  lift  was  imagi- 
nation, pure  and  simple." 
Buddv  Rogers,  too,  has 
begun  to  have  unpleasant 
experiences  with  writers. 
One  of  these  interviews 
appeared  in  Picture  Play 
under  the  title  "Buddy 
Looks  At  Love." 

"Honestly,"  said  Buddy, 
"I  get  sick  every  time  I 
think  about  that  story. 
That  chap  said,  T'm  going 
to  give  you  a  swell  inter- 
view,' and  I  opened  up  and 
told  him  things  I'd  never 
told  any  one  before.  And 
he  just  distorted  every- 
thing I  said.  For  instance, 
he  quoted  me  as  saying,  T  guess  Claire  Windsor  is  sort 
of  sore  at  me.'  My  feeling  for  Claire  was  sincere 
enough  and  deep  enough  that  I  hope  it  went  further  than 
the  point  where  I  would  say  'She's  sort  of  sore  at  me.' 
When  I  first  came  out  here  she  was  a  real  friend,  and  I'll 


n   explains   where   he   received 
that   figured   in   an   interview. 


The  Stars  Hit   Back 


67 


always  be  grateful  for  that.  Sometimes,  for 
one  reason  or  another,  yon  don't  see  as  much 
of  people  as  you  once  did.  And  that's  what 
has  happened  now.  Claire  and  1  are  still  good 
friends,  and  1  hope  we  always  will  be. 

"Then  he  asked  if  1  entertained  much,  and 
I  said,  'Oh,  a  little'  So  he  asked  in  what  man- 
ner 1  entertained,  and  1  said  that  1  usually  took 
girls  to  the   Gl  He   wondered   how   much 

that  cost,  and  I  told  him.      Nexl  he  asked  if   1 
went  out  much,  and   1   said,  'Quite  a  hit.'      In 
er  to  his  question  whether  that  cost  much. 
1.  'No,      You  see.   I'm  invited  out  quite  a 
lot.  and  don't  have  a  chance  to  spend  anything.' 
Hut  he  wrote  the  two  items  together  and  made 
m  as  though  1  go  out  only  when  I'm  in- 
vited and  don't  have  to  spend  anything,  and 
that  1  took  girls  to  the  Grove  because  it  didn't 
much,     I  took  them  there  because  it  was 
where  they   wanted   to   go.      And.   besides,   no 
matter  where  you  take  a  girl  in  Hollywood,  it 
ISt  about  the  same. 
"He  also  quoted  me  as  saying  that  I  went 
with  the  Hamburgers  because  they  are  society 
people,  which  was  not  true.     He  asked  me  who 
I  associate  with,  and  I  mentioned  them,  among 
He  commented  on  the   fact  that   they 
tv   people,   and    I    said   'possibly.'   hut 
when  the  article  came  out.  it  read  as  though  I 
were  the  one   who  had  commented   on    it.      1 

with  people  because 
I  like  them,  and  hecause 
they   like    me — not   be- 
cause   of    the    position 
they  happen  to  occupy. 
"There  was  also  an- 
other    interview     in     a 
newspaper,    which    was 
picked  up  by  the  pa; 
in  Kansas  City  and  my 
home  town,  saying  that 
I  had  'gone  Holly  w< 
and  was  affecting  side- 
hums  and  a  chauffeur 
and  footman.     I  had  to 
wear  the  -idc-burns   for 
my   role   in    'River   of 
Romance.'     As  soon  as 
that  was  finished.  I  cut 
them    off    and    haven't 
rn  them  since. 
"And  as  to  the  chauf- 
feur and  f  ootman.  when 
my  mother  was  out  here 
I  had  to  get  some  one 
>.er     around 
while  1  was  at  the  stu- 
dio.    There  was  a  little 
colored    boy    who    was 
crazy  to  hreak  into  the 
movie-.      He    used    to 
-:er  me  to  help  him. 
!  hired  him  as  chauf- 
feur.     When    mother 
didn't  need  him  to  dl 
her,   he    used    to   hang 
und     the     set     and 

Evelyn   Brent   says   that 

she      did      not      send      a 

woman     writer     out     of 

her  home  in  the  rain. 


Pholo  by  Dyar 

Buddy  Rogers  gets  sick  every  time  he  thinks  of 
an  interview  that  misrepresented  him  to  his  fans. 

carry  my  make-up  box.  [s  there  anything 
terrible  about  that?  dee  whiz."  he  finished,  "if 
you  fellows  are  going  to  come  out  and  ask  a 
chap  a  lot  of  questions  and  then  not  print  what 
he  says,  we're  better  off  not  to  have  any  inter- 
view^ at  all." 

Billie  Dove,  in  addition  to  her  other  troubles, 
has  recently  had  a  misleading  interview  to  eon- 
tend  with. 

"A  young  lady,"  Billie  explained,  "came  out 
to  interview  me.  with  a   friend  of   Mr.  Will 
and  mine.     I  am  quite  Min-  that  the  young  lady 
did  not   intentionally  mi-quote  me.  but   she 
tainly  misunderstood  me.    The  interview  would 
tend  to  lead  the  public,  or  at   least   that   port 
of   it   interested   in  me.  to  believe  that    Mr.  W'il- 
lat   and    I    parted    so    I    Could   be   freer  to  put 
my   career.      M'  bad    absolutely    nothing 

to  do  with  our  separation.  That  was  due  to 
nothing  more  than  incompatability.  1  love  my 
work,    but    neither    pictures    n<>r    anyth 

us  as  important  to  n  ng  happy.     Had 

we   been    happ) 
sacrificed  m\  ir  marr 

••'I  he  w  ritei  '  that 

I   have  had 

that   I   had   nothing  to  do  with 
Ivisrd  n 

me  lb--  pri 

•n  had  nothing  to  do  with  0U1 
when    the    int.  I 

ted  I 

ail'1 

I 


68 


Time,  IA  the  Comedi 


omedian 


Though  you  smile  at  these  dresses  worn 
in  "The  Florodora  Girl,"  because  they 
are  so  unlike  those  of  to-day,  you  must 
remember  that  they  were  chic  and  charm- 
ing  in   the   gay   '90s. 


Marion  Davies,  right,  is  properly  capari- 
soned for  a  shopping  tour  in  the  period 
when  it  was  considered  "bold''  for  a  well- 
bred  girl  to  show  an  ankle,  and  beyond 
the   pale   to   be   ungloved. 


Ethel  Sykes,  above,  is 
correctly  attired  for  a 
formal  tea  given  in  the 
period  w  h  e  n  it  was 
considered  an  affecta- 
tion to  imbibe  that  bev- 
erage in  the  afternoon, 
but  a  lady  tasted  noth- 
ing stronger  unless  she 
was,  alas,  "fast." 


Leonorc  Bushman, 
right,  is  all  ready  to  get 
into  the  victoria  that 
will  roll  her  in  dignity 
on  a  round  of  after- 
noon calls. 


Vivian  Oakland, 
left,  wears  a 
gown  such  as  her 
mother  wore  to 
the  horse  races 
when  automobiles 
were  thought 
"dangerous." 


-„C-     • 


Ilka  Chase,  above,  is  a  typi- 
cal matinee  girl  of  the  '90s, 
when     William     Faversham 
and     the     late     John     Drew 
stimulated  hero-worship  and 
would     have     considered     a 
girl    who    placed    her    hands 
on    her   hips   as 
bein»    a    little 
"common." 


% 


*r. 


t.'.l 


™ 


A  Confidential   Guide   To   Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 

"Song  o'  My  Heart"— Fox.  John 
McCormack    central    figure    in    gentle 

Irish   story,   with   eleven    mmi.cs   beauti- 
fully recorded.     Finely   directed,  excel- 
lently acted,  with  new  ingenue,  Maureen 
lllivan,    and    Tommy    Clifford,    both 

from  Ireland.     John  Garrick,  J.  M.  Ker- 
rigan. Alice  Joyce. 

"Sarah  and  Son" — Paramount.  Ruth 
Chatterton  at  her  besl  is  poor  German 

girl  who  rises  to  the  ton  as  prima  donna. 
in  touching  mother-love  story.  Diffi- 
cult characterization  perfectly  done. 
Philippe  de  Lacy,  Fredric  March.  Gil- 
bert Emery,  Doris  Lloyd,  William 
S 
"Men  Without  Women" — Fox.  In- 
ly human  picture  oi  men  trapped 
undersea.  Fine  characterization,  action 
motivated  by  invisible  heroine.  Ken- 
neth   MacKcnna,    Frank    Albertson,    as 

donna     .iiid     ensign,    are     Strflf 
Paul    Page,   Stuart   Erwin,   Warren    Hy- 
mer,    Farrell    Mac  Donald. 

•Green  Goddess,  The"  —  Warner. 
-sre  Arliss  as  suave,  merciless  rajah 
into  whose  kingdom  a  group  of  Eng- 
lish land  by  plane.  Plans  for  execu- 
tion of  visitors  for  revenge  thwarted  in 
thrilling  manner.  H.  B.  Warner,  Ralph 
Forbes,  Reginald  Sheffield,  Alice  Joyce. 

"Seven  Days'  Leave" — Paramount. 
Exceptional  film,  lacking  boy-and-uirl 
love  element,  with  honors  to  Beryl  Mer- 
cer and  Gary  Cooper.  Charwoman  "in- 
vents" soldier  son,  and,  to  humor  her, 
a  real  soldier  has  her  to  adopt  him. 
Simple,    touching. 

"Vagabond  King,  The" — Paramount. 
AU  Technicolor.  Beautifully  filmed,  far 
above  the  "Oh,  yeah?"  and  tootsie 
theme-song  musical  films.  Story  of 
Villon,  the  French  poet,  and  Louis  XI 
— Dennis  King  and  O.  P.  Heggie  re- 
spectively, both  excellent.  Warner 
Oland  and  Lillian  Roth  fine.  Jeanette 
MacDonald  pastel  leading  lady. 

"Rogue  Song,  The '—Metro-Goldwyn. 
Song,  dialogue,  all  Technicolor.  Law- 
rence Tibbett*s  debut  on  the  screen  is 
high  mark  of  musical  films.  Magnifi- 
cent voice,  vigorous  personality  make 
up  for  weak  story,  made  weaker  by  de- 
tached horseplay.  The  bandit  kidnaps 
the  princess.  Catherine  Dale  Owen, 
Florence  Lake. 

"Street  of  Chance"— Paramount.  Wil- 
liam Powell  superb  in  smooth  but  pow- 
erful role  of  gambler  who  tries  to  steer 
his  brother  away  from  the  racket,  his 
efforts  costing  him  his  life.  Direction 
and  acting  lift  film  above  other  under- 
world dramas.  Kay  Francis  Jean  Ar- 
thur,  Regis  Toomcy,   Brooks    Benedict. 

"Not      So     Dumb"  —  Metro-Goldwyn. 
Marion    Davies'    version    of    "Dulcy 
amusing  and  her  work  is  so  clever  you 
want    to    choke    her    while    laughing    at 
her   dumb   efl  be   the   little    fixer 

between  her  fiance  and  his  boas.     Elliott 
ent,    Raymond    Hackett,  and   others 
lend  excellent   support. 


"Hallelujah"— Metro-Goldwyn.  All 
dialogue.  An  epic  in  its  true  meaning 
in  the  portrayal  of  the  ops  and  downs 

of  a   cotton-belt    v  mily,   as   the 

film  reveals  the  inner  life  in  striking 
interpretations.     There  has  never  been 

a  film  like  it  in  the  dramatic  sweep  of 
a  simple  plot.     All   Negro  cast. 

"Anna  Christie"  —  Mctro-Goklwyn. 
Greta  Garbo's  first  talkie  reveals  an  un- 
usually deep  voice.  Heroic  effort  in 
role  demanding  the  best  in  speech. 
Ruthlessly  frank  story  of  streetwalker 
is  unlike  her  former  ones.  Charles 
Bickford,  George  Marion,  Marie  Dress- 
ier. 

"Devil-May-Care"  —  Metro-Goldwyn. 
Dialogue  and  mhil;.  Dashing,  tuneful 
Napoleonic  comedy,  with  Ramon 
varro  at  his  best,  and  again  singing  with 
charming  skill,  as  if  the  songs  belong 
in  the  story.  Bonapartist  falls  in  love 
with  royalist  girl,  and  what  they  do 
about  it.  Dorothy  Jordan,  Marion  Har- 
ris, John   Mil  Jan. 

"Hit  the  Deck"— RKO.  Dialogue  and 
song.     Technicolor  sequence.     Rousing 

entertainment  with  songs  and  Jack 
Oakie,  who  walks  away  with  the  pic- 
ture. Good  for  tired  musical-comedy 
fans.  A  sailor  named  Smith  stops  at 
a  port,  captivates  a  girl,  and  then  is 
found  again  among  all  the  Smiths.  Polly 
Walker,  Ethel  Clayton,  Wallace  Mac- 
Donald,  June  Clyde,  Marguerita  Padula. 

"Sally"— First  National.  All  dialogue, 
all  Technicolor.  Light-hearted  enter- 
tainment, beautifully  photographed,  with 
Marilyn  Miller  excellent  in  speech, 
dance,  and  song.  Sally,  a  waitress,  is 
"discovered"  by  producer,  and  then  she's 
high-hatted  and  all  that.  Joe  E.  Brown, 
T.  Rov  Barnes,  Ford  Sterling,  Jack 
Duffy.  " 

"Mighty,  The"— Paramount.  All  dia- 
logue. George  Bancroft  as  a  gan. 
who  sees  the  error  of  his  ways  through 
love  of  a  good  woman,  the  climax  being 
worked  out  by  unusual  sequences.  Es- 
ther Ralston  in  screen  farewell.  O.  P. 
Heggie,  Warner  Oland,  Raymond  Hat- 
ton,  Dorothy  Revier,   Charles   Sellon. 

"Hell's  Heroes" — Universal.  All  dia- 
logue. '1  men  take  char;.' 
baby  of  a  dying  woman  on  the  desert 
and  undertake  to  carry  it  out  of  the 
wild'  Utmost  realism  portr 
by  Charles  Bickford,  Raymond  Hatton, 
Fred   K'.hler. 

"Welcome        Danger"  —  Paramount. 
Part     dialogue.       Harold     Lloyd     n 
you    laugh    all    through,    with    time    out 
only  for  breathing  h  by 

Mr.  Lloyd.     His  voio  Harold 

runs  down  a  Chinese   villain   in   his 
way.       Barbara     Kent    naively     charming. 
itmg    fun-  an. 

"Dynamite"       V  Idwyn.         All 

dialogue.      Cecil    1  I 

ment      in      talkies      brilliantly  effective. 

.<•    plot,    embi  with    fine 

acting  and    ;                  hy   and  intelligent 

dial'  "    if 

il    coal    miner    and    »0<  man. 


Kaj    Johnson's   debul  I     tries 

Bickford,    Julia     I  I    mrad    N 

Muriel   McCormac,   Leslie   Fenton. 

FOR    SECOND    CHOICE. 
"Be    Yourself      \    night-club    enter- 
tainer's boy  friend  makes  good  in 

ing,    and    gives     tin     gal     tl  :.it's 

when  Fannie  Brice  sings  about  her  man 
in  the  old  Brice  manner.     Robert  Arm- 
strong excellent  as  prize  fighti 
trude    As  tor,    Harry    Gt 

"Song  of  the  West"  Warner.  En- 
tirely in  Technicolor.  Background  the. 
glamorous  days  of  '49,  but  film  is  in« 
different.  John  Boles  sings  a  great  deal, 
Vivienne  Segal  is  pretty.  Joe  I'..  Brown, 
Marion   Byron. 

"Case    of    Sergeant    Grischa,    The" — 

RKO.       A     Russian     peasant     is     gri 

beneath  the  German  war  machine,    i 

nest  Story  made  unconvincing  by  med- 
ley of  accents,  and  Chester  Morris  too 
alert  for  doomed  peasant.  imp- 

son,  Alec  B.  Francis,  Gustav  »on  Si 

fertitz,  Jean    Hersholt. 

"Slightly  Scarlet"— Paramount  Winn 
two  jewel  thieves  meet  at  a  safe,  what 
can  you  expect?    Love,  of  course.    Clive 

Brook,    Evelyn    Brent,   the    thieves,   with 

Eugene    Pallette,    Paul    Lukas,    Helen 
Ware,      Henry     Wadsworth,     Virginia 
Bruce  providing  good  acting   that    H 
trite  story. 

"Road  House  Nights" — Paramount. 
Interesting  story  of  bootlegging  pro- 
prietor of  road  house,  introducing  C 
ton,  Jackson,  and  Durante,  famous 
night-club  entertainers.  Charles  R 
gles  clever,  and  Helen  Morgan  her  own 
unique  self.  Fred  Kohler  a  striking 
villain. 

"Such  Men  Are  Dangerous"—  I 
Elinor  Glyn's  brain  child  filmed,  show- 
ing effect  of  plastic  surgery  < ■  1 1  a  man's 
face,  voice,  and  general  appeal.  Com- 
plicated supertrianglc  plot,  with  millions 
and  spurned  love.  Warner 
Catherine     Dale     Owen.     Albert     Contl, 

Hedda  Hopper. 

"Lady  To  Love.  A"     M  yn. 

Vilma  Banky'i  l-talking  effort  is 
admirabli 

waitress  for  1  sends  h<  r  a  young 

man'  n,  and  things  hap- 

1  G.    R 

Robert  A  nan. 

"Only  the  Brave 
Cooper    in    r 

■ 

.nd    likable. 

■ 

"Chasing       Rainbow 
triumph 

Phill 

rJtti   M    pUt    11*1 


70 


Colin  Clive,  of  the  London  stage,  plays 
Captain    Stanhope    in    "Journey's    End." 

AMONG  contemporary  stage  plays 
there  is  none  more  successful 
than  "Journey's  End."  Originally 
produced  in  London,  it  has  been  on  view 
in  New  York  for  well  over  a  year,  with 
no  signs  of  closing.  Touring  companies 
are  numerous  in  this  country  and  abroad, 
with  representations  in  foreign  languages 
coming  one  after  the  other. 

This,  then,  is  the  source  from  which 
comes  the  picture  "Journey's  End,"  so 
faithfully  recorded  that  only  the  captious 
can  determine  what  is  gained  or  lost  by 
the  transference.  So  that  in  seeing  the 
film  you  will  witness  the  nearest  ap- 
proach possible  to  the  original.  Whether 
it  will  appeal  to  the  fan  at  large  I  can- 
not say.  It  departs  from  the  formula 
expected  of  a  picture  of  wide  appeal, 
for  it  is  devoid  of  surface  love  interest, 
it  transpires  in  what  is  virtually  a  single 
set — a  dugout — and  it  lacks  dramatic 
clashes  and  action,  for  it  is  wholly  given 
over  to  conversation  between  men  in  uniform.  And  the 
men,  with  the  exception  of  Anthony  Bushell,  Charles 
Gerrard,  and  Billy  Bevan,  are  none  that  you  have  ever 
seen  before.  But  their  dialogue  is  strangely  revealing 
and  uncovers  character  with  the  sharp  precision  of  a 
surgeon's  lancet.  "Noble,  heart-breaking,  and  bitterly 
heroic"  tliis  conversation  is  described  by  those  who  de- 
rived more  from  it  than  I  did,  calloused,  perhaps,  by  so 
much  that  is  inane  in  the  talk  which  comes  from  Holly- 
wood, and  wondering  how  the  fans  would  take  to  the 
pronounced  accents  of  the  speakers. 

They  include  Colin  Clive,  who  created  Capla'ui  Stan- 
hope in  London.  Ian  Maelaren,  David  Manners,  and 
others.  It  is  hardly  necessary  to  add  that  their  per- 
formances  are    first-rate,    according   to   stage   tradition. 


John    Barrymore 
man   in   "The    M 


fflarbertjusk 


Seeing  Stars  Really. 
Of  all  the  revues,  "Paramount  on  Parade"  is  the 
only  one  that  has  wholly  captured  everything  expected 
of  this  sort  of  entertainment.  Comedy,  farce,  parody, 
satire,  drama,  opera,  all  are  represented,  with  song, 
dance,  and  color.  Best  of  all,  there  is  not  too  much 
of  any  ingredient  or  any  player.  To  mention  the 
stars  would  entail  listing  the  entire  personnel  of  the 
Paramount  organization,  from  Ruth  Chatterton  in  a 
heartbreaking  sketch  to  Mitzi  Green  in  imitations, 
though  one  looks  vainly  for  the  agreeable  Neil  Hamil- 
ton and  wishes  that  Baclanova  had  been  on  call  when 
the  picture  was  filmed  for  the  strong  note  she  would 
have  added  to  it.  But  one  can't  have  everything. 
Enthusiastically  I  recommend  all  this,  confident  that 
no  matter  what  your  taste,  you  will  find  it  gratified 
in  this  genial,  glittering  show. 

It  is  different  from  all  others,  because  intelligence 
entered  first  into  it,  with  money  an  afterthought.  Its 
lavishness  is  manifest  in  the  tal- 
ent displayed  rather  than  in  show- 
iness,  though  this,  like  all  perfect 
revues,  has  its  quota  of  the  spec- 
tacular. But  it  never  dominates 
the  proceedings,  nor  lessens  the 
importance  of  the  individual  con- 
tribution. 

Though  it  is  obviously  impos- 
sible to  describe  the  various  num- 
bers, or  even  to  give  the  cast,  one 
recalls  pleasantly  the  witty  sketch 
of  Maurice  Chevalier  and  Evelyn 
Brent  called  "The  Origin  of  the 
Apache,"  in  which  Miss  Brent  is 
glorious  to  behold ;  and  one  re- 
members, too,  Harry  Green's 
"Isidore  the  Toreador"  sung  in  a 
superbly  staged  Technicolor  se- 
quence, with  Kay  Francis  a  lus- 
cious-looking Carmen.  Nor  does 
one  forget  Nancy  Carroll's  ex- 
quisite dancing,  and  certainly 
one's  risibilities  are  stimulated  by 
thought  of  Helen  Kane's  school 
and  her  lesson  in  history-  There 
is  also  George  Bancroft's  effective 
sketch,  which  shows  him  first  as  a  polite  guest  at  a 
formal  party  and  later  as  a  violently  impolite  one  be- 
having as  we  should  all  like  to  at  times.  Agreeable 
memories  also  are  evoked  by  Gary  Cooper's  singing, 
of  Leon  Errol's  reappearance,  of  the  imaginative  roof- 
top ballet,  and,  indeed,  everything  connected  with  the 
picture. 

An   Uninvited    Guest. 

In  "The  Man  from  Blankley's,"  John  Barrymore 
chooses  a  medium  for  his  talents  that  will  startle  those 
who  do  not  remember  him  as  a  comedian  in  his  early 
days.  For  the  new  picture  is  broad  farce.  Just  how 
spacious  the  comedy  is  will  be  understood  when  you  are 
told  that  Mr.   Barrymore's  attempts  to  carve  a  pigeon 


is  a  farcical   noble- 
an   from    Blankley's." 


71 


'*Rg\?ieuy 

Song-and-dance  films  are  still 
having  their  innings,  but  drama 
holds  its  own  in  a  month 
crowded  with  surprises  and 
disappointments. 

cause  gravy  to  squirt  into  Emily  Fitzroy's  eye  and. 
true  to  the  traditions  of  this  school  oi  fun.  it  • 
so  not  once  but  several  times.  Mso  Mr.  Barry- 
more  seats  himself  on  a  hassock  that  slowly  col- 
lapses. This  -  frequently  repeated  so  that  you 
won't  overlook  it. 

These  expedients  to  provoke  laughter  are  employed 
at  a  dinner  ]varty  which  Mr.  Barrymore,  as  Lord 
tthpeffer,  joins  by  accident.  He  is  supposed  to 
be  the  man  from  an  agency  which  supplies  guests 
in  an  extreme  emergency.  The  Tidmarshes  have 
telephoned  in  dire  extremity  and  Lord  Strathpeffer 
is  the  answer  to  their  appeal.  In  reality  he  has 
mistaken  their  house  for  the  one  next  door,  and 
the  film  is  given  over  to  his  inebriated  razzing  of 
his  hosts  and  their  guests,  all  of  whom  are  freaks. 
Love  interest  comes  from  the  Tiiinwrslics'  govern- 
-  and  Strath  fetter's  discovery  that  she  is  a  sweet- 
heart of  a  more  sober  day. 

Frankly,  I   found  the  film  tedious  and  Mr.  Barry- 
more's  antics  not  at  all  funny.     His  clowning  has  the 
quality   of    distinction,    if    not    moderation,    but    it   is 
overlaid    with    studied    mannerisms,    in    especial    his 
habit  of  staring  with  dilated  eyes.     This  expresses  noth- 
ing, really,  and  ceases  even  to  he  arresting  when  it  is 
carried  to  such  an  extent.     Yet    I  have  been  told  that 
both    Mr.    Barrymore   and   his   picture   are    fascinating. 
lunatic.  Puckish,  but  you  mustn't  take  my  word  for  it. 
Loretta  Young  is  the  poor  governess  in  a  two- 
hundred -dollar  gown. 

Backward   Children. 
It  is  difficult  to  determine  responsibility   for 
the   appearance   of    Charles    Farrell    and    Janet 
Gaynor  in  musical  comedy.     Perhaps  they  fancy 
themselves  ;.  it  may  he  that 

the  popularity  of  musical  films  forces 
them  to  compete  with  more  experienced 
artist-  in,    it    is    likely    that    their 

speech  is  not  thought  convincing  enough 
to  be  employed  in  anything  but  the  trivi- 
alities of  childish  make-believe.  No 
matter  what  is  to  blame  for  "High  So- 
ciety Blues,"  the  fact  remains  that  the 
day  is  rapidly  disappearing  when  they 
can  be  taken  seriously.  Soon  only  those 
with  exceptional  memories  will 
recall  the  tender,  poignant 
appeal    of    "Seventh    Heaven." 

treet  Angel,"  and  in 
measure  "Lucky  Star."  For  it 
is  easier  nowadays  to  forget 
than  ever  before.  And  "High 
iety  Blues"  is.  unfortunately. 
a  film  that  fairly  bi  for- 

tten.      It  cal    that    it 

should  be.  for  those  who  find  it 
momentarily  entertaining  must 
Ik-  •  who  are  incapabli 

the  least  mental  exertion. 
the  viewpoint  of  the  picture  is 


Winnie  Lightner  and  Joe  E.  Brown  are  boisterous  comics  in 
"Hold   Everything." 

as  unreal  as  it  is  infantile,  and  the  sentimentalities  of 
the  hero  and  heroine  are  as  remote  from  actuality  as  a 
dialogue  among  inhabitants  of  Mars.  They  an-  con- 
cerned in  a  version  of  "Romeo  and  Juliet."  modernized 
by  the  ukulele  and  the  stock  market,  hut  still  the  old 
story  of  the  aristocratic  girl  in  love 
with  the  son  of  parvenu  neighbors. 
But  the  characters  are  those  of  the 
comic  strips,  blue  blood  being  ex- 
.^^  pressed  in  had  manners  and  hear 

P^J|^  gold  going  with  stupidity.     There  is 

-^^fl  ••%  also  a  French  count  of  the  usual  va- 

-^y      —  riety,  except  that  he  doc-,  not   wear 

checked  trousers.  The  singing  of 
Mr.  Farrell  and  Miss  Gaynor  is  Mill 
unmusical,  and  their  acting  is  pleas- 
antly amateur  because  there  is  noth- 
in  the  picture  to  demand  more 
than  smiles  and  CUteness.  Ihdda 
Hopper.  William  ("oilier.  Sr..  Lucicii 
Littlefield,    and    Loir  oda    arc 

the  parents. 

Sweet,   But   Not   Cloying. 
If  you   sample  "Honey"  once   it    is 
likely  that  you  will  return   for  a 
ond  helping,   for  it   is  a   thoroughly 
diverting    musical    pie© 
quential,  it  attempts  nothing 

•tain   for  an  hour  and  it   doi 
mor-  fully  than  n 

■:  brain  I 
hut   it   is   ni'  than 

the    usual     plots     that 
fron  i<-  mill 

with    musii  iIk- 

ii  and  «'  Uth- 

•i  familj  •  th<-  .u 


72 


The  Screen  In  Re  Vie  xv" 


"Free  and  Easy.' 


"The   Benson  Murder   Case." 


"Captain 

of  the  Guard." 

r     L_[ 

:V  r   is    '2 

i                         m  i^i 

"*W*-^i«^r,^,*^B 

^^^^^^JB  V   ^^  <*TVjB                           ^r 

"The  Girl  Said  No." 


tral  mansion  to  a  snobbish  woman  from  the  North.  She  takes  pos- 
session with  her  daughter  whom  she  is  hoping  to  marry  to  their  rich 
guest.  In  order  to  fulfill  the  terms  of  the  lease,  the  young  owners 
of  the  house  are  obliged  to  masquerade  as  servants  when  the  real 
i Hies  leave.  The  guest  is  attracted  to  the  supposed  cook,  and  the 
1  mtler  woos  the  daughter  of  the  nouveau  riche. 

True,  there's  nothing  unusual  in  this,  but  the  characters  are  put 
forth  with  such  amusing  detail,  and  played  so  excellently,  that  one 
is  vastly  entertained  by  the  eventual  pairing  off  of  the  lovers. 
Nancy  Carroll  is  clever  and  appealing  as  the  pseudo-cook  in  gingham 
and  a  brogue,  and  Richard  Gallagher  is  droll  as  the  supposed  butler. 
Jobyna  Howland,  from  the  stage,  is  enormously  effective  as  the 
upstage  Mrs.  Falkncr,  whose  plans  are  put  at  sixes  and  sevens  by 
the  quartet  of  young  people,  as  well  as  a  younger  one  in  the  person 
of  Mitzi  Green,  who  plays  a  tattling  child  willing  to  sell  secrets 
for  a  price.  Long  after  you've  seen  the  picture  your  ears  will 
echo  to  Mitzi's  crowing  "I've  got  a  secret !"  Lillian  Roth  is  also 
welcome  in  this  array  of  hits,  and  Harry  Green,  with  too  little  to 
do,  makes  the  most  of  it ;  while  Stanley  Smith  answers  the  popular 
specifications  of  a  juvenile  hero. 

Let's  Have  More  Like  This. 

Quite  the  best  of  the  Philo  Vance  stories  is  "The  Benson  Murder 
Case,"  which  they  tell  me  is  the  weakest  of  the  novels  exploiting 
the  gentleman  detective.  This  probably  is  because  the  picture  bears 
no  resemblance  to  the  original.  But  who  cares  when  what  is  offered 
on  the  screen  is  first-rate  entertainment  and,  in  my  opinion,  the 
superior  of  all  murder  mysteries?  It  is  absorbing,  thrilling,  and 
entirely  civilized — as  far  removed  from  the  usual  picture  of  its 
kind  as  William  Powell  is  unlike  the  villain  of  "The  Perils  of 
Pauline."  It  is  intellectual,  but  at  no  sacrifice  of  movement  or  the 
elemental  emotions  which  must  serve  as  the  basis  of  a  mystery 
story,  if  it  is  to  be  a  good  one.  Besides  these  admirable  qualities, 
the  picture  offers  another  innovation.  Instead  of  being  called  in 
to  solve  the  murder,  Philo  Vance  is  present  at  the  death  of  Anthony 
Benson,  a  stock  broker,  to  whose  country  home  come  various  per- 
sons whom  he  has  sold  out  in  the  recent  panic.  They  are  both  in- 
teresting and  real,  every  one  of  them,  and  their  complicated  relation- 
ships add  to  the  adult  quality  of  the  story  and  furnish  worldly 
comedy.  Each  one  of  them  has  reasons  for  taking  Benson's  life, 
and  it  is  hardly  necessary  to  say  that  Philo  Vance  detects  the  real 
criminal. 

William  Powell,  as  Vance,  equals  his  superb  portrayal  in  "Street 
of  Chance,"  which  set  a  new  standard  for  this  splendid  actor. 
Though  the  roles  are  dissimilar,  Mr.  Powell  brings  the  same  quiet 
authority  and  eloquent  repose  to  the  new  part.  If  anything,  his 
voice  is  even  finer.  It  is  charged  with  infinitesimal  gradations  of 
thought  and  feeling,  with  an  underlying  richness  of  tone  that  is  as 
satisfying  as  music.  Happily  the  entire  cast  is  on  a  par  with  him. 
Vainly  one  looks  for  imperfection  in  Natalie  Moorhead,  Paul  Lukas, 
Eugene  Pallette,  E.  H.  Calvert,  Richard  Tucker,  May  Beatty,  and 
William  Boyd,  the  latter  from  the  stage. 

A  Minstrel's  Mammy. 

To  avoid  crying  himself  to  death,  Al  Jolson,  as  the  end  man  in 
Meadows'  Merry  Minstrels,  shoots  Lowell  Sherman,  the  inter- 
locutor, when  he  tells  a  sob  story  about  his  aged  mother,  in 
"Mammy."  The  director  of  Mr.  Jolson's  new  musical  probably 
took  his  cue  from  the  script  and  prevented  the  crooner  from  in- 
citing his  audience  to  a  dangerously  tearful  frenzy.  There's  a 
great  deal  more  fun  and  geniality  woven  into  the  mammy-o  theme 
than  in  Mr.  Jolson's  early  pictures,  yet  fans  who  look  forward  to 
AI's  coming  for  "a  good  cry"  probably  will  go  to  the  theater  in  the 
right  state  of  mind,  with  some  personal  woes  saved  up,  and  the 
touching  scenes  will  he  sufficient  to  set  them  going.  And  those  who 
stare  flinty-eyed  at  emotion  in  celluloid  will  not  be  unduly  strained 
to  control  themselves.  It  is  a  departure  from  his  film  pattern  for 
the  better. 

The  story  is  of  AI's  love  for  the  daughter  of  the  owner  of  the 
show.  Lois  Moran,  her  love  for  "Wcsty" — Mr.  Sherman — and  his 
love  for  pretty  girls  in  general.  In  the  shooting  act,  Mr.  Sherman's 
enemy  substitutes  a  loaded  pistol  for  the  prop  gun — they  think  up 


The   Screen   In   Review 


such  original  climaxes  in  Hollywood — ami  Jolson  really  shoots  his 
rival.  Poor  old  Al  then  rides  the  rods  t"  escape  the  law,  with  a 
hobo  played  by  Tully  Marshall,  until  he  reaches  the  village  in  Ohio 
where  his  mammy,  Louise  Dresser,  is  waiting.     Alter  a  cou] 

and  a  song,  Al  decides  to  go  hack  and  face  the  consequences. 
He  tumbles  off  the  freight  into  the  midst  of  the  old  minstrel  troupe 
en  parade  The  girl  tells  him  that  the  guilty  man  has  confessed, 
and  soon  Al  is  strutting  along  in  his  old-time  glory.  Who  gets  the 
girl  is  not  made  clear.  This  is  too  much  like  every  fan's  triangle, 
so  let's  assume  that  Al's  absence  made  her  heart  i^row  ever  so  much 
fonder. 

But  the  story  does  not  matter:  it's  Jolson's  singing  you  want. 
There  are  several  new  Irving  Berlin  numbers,  and  having  swung 
away  from  unrelieved  tragedy.  Mr.  Jolson  appears  as  the  clever 
entertainer  he  was  on  the  Stage. 

Miss    Moran    is    a    nice    little    heroine,    and    only    a    hard  hearted 

irio  writer  would  let   ll'csty  make  her  miserable  by   flirting   SO 

outrageously.     Lowell  Sherman  has  a  great  deal  to  do.  and  does  n 

well.     Others  are  Hobart    Bosworth,    Mitchell   Lewis.   Jack   Curtis. 

Stanley  Fields,  and  Ray  Cooke. 

Isn't  War  Fun? 
The  late  war  was  certainly  a  jolly  affair — just  a  lark  for  a  group 
of  fledglings  flatteringly  called  "Young  Eagles"  in  the  picture  of 
that  name.  What  with  close  harmony,  kidding,  and  practical  jokes, 
you  might  think  the  boys  were  behind  the  scenes  of  the  prep 
school's  annual  show.  Their  pranks  are  so  cute  and  their  minds 
so  juvenile  that  one  shudders  to  think  of  so  many  Peter  Pans  at 
large  and  in  uniform,  too.  However,  relief  comes  with  the  knowl- 
edge that  it's  all  play  acting  and  just  another  proof  that  Buddy 
Rogers  won't  grow  up  and  he  an  actor.  So  one  needn't  consider 
him  as  such.  And  the  airplane  maneuvers  are  magnificently  photo- 
graphed. There's  a  captive  German  ace.  l'on  Koch,  a  charming, 
worldly  fellow  deftly  personated  by  Paul  Lukas,  whose  urbanity 
throws  the  kindergarten  mentality  of  his  captors  into  disturbing 
relief.  All  the  more  so  since  Mr.  Rogers,  as  Lieutenant  Gene 
Banks,  is  sent  to  Paris  on  a  furlough  in  company  with  l'on  Koch 
in  the  belief  that  the  German  will  confide  secrets  of  the  enemy  to 
him.  One  can  only  assume  that  Mr.  Rogers'  boyish  charm  i 
pected  to  make  Mr.  Lukas  a  traitor.  In  Paris  they  visit  Mary 
Gordon,  whose  establishment  is  a  sort  of  clearing  house  for  those 
irch  of  amorous  adventure,  but  even  in  these  surroundings 
Mr.  Rogers'  innocent  boyishness  is  kept  intact.  lie  plays  follow 
the  leader  with  the  inmates.  Mary  Gordon,  whose  bagnio  is  just 
a  blind,  succeeds  in  learning  Mr.  Lukas'  secrets  so  that  America 
wins  the  war  and  she  and  Mr.  Rogers  receive  the  rewards  of  a 
grateful  government.  Jean  Arthur  is  the  spy  who  deceives  Mr. 
Lukas.  It'-;  all  right  with  me  if  you  think  she  could.  Stuart  Erwin 
and  Virginia  Bruce  are  helpful. 

Watch  Your  Maid! 
Rather  dull,  but  pleasant  enough  in  a  routine  way  is  "Alias  French 
Gertie."  The  amiable  quality  is  flue  entirely  to  Bebe  Daniels,  her 
agreeable  speech,  some  of  it  in  French,  and  her  creditable  perform- 
ance altogether.  But  it's  a  comedown  from  "Rio  Rita,"  for  the 
new  picture  is  only  a  crook  melodrama  done  on  a  modest  scale.  Tier 
role  is  Marie,  alias  "Gertie  the  Gun,"  who  serves  as  a  lady's  maid 
while  awaiting  her  opportunity  to  often  the  safe  of  her  employer.  She 
faces  Jimmy  ffartiaan.  whose  mi  same,  and  they  r< 

nize  each  other  as  of  the  underworld.    When  the  police  come  Jimmy 
himself  up  and   is  sentenced.     On   his   |  ••  and   Marie 

form  a  predatory  partnership,  until  they  arc  fleeced  by  an  elderly 
couple   whose   apparent    respectability   do  OUng   c: 

A  new  version  of  "Cheating  n  Lyon  give 

performance  as  Jimmy,  retrieving  the  reputation  as  an  actor  he 
temporarily  misplaced  in  "Lumm- 

Chanticleer. 

Putting  it  in  the  mildest  manner  o'  the  Wall 

a  deluded  bird.     And  this  •ure.  too.     It  is  an  effort 

gone    wrong,    neither  n    nor    flawless    photography 

•inuer!  oil 


"High    Society 

Blue 

t    "^ 

^       *]^ 

Wit 

\ 

"Mammy." 


'■' 


74 


Janet — As  Ske  Is 

A  sympathetic  appraisal  of  Miss  Gaynor  as  an    individual,  as  comprehensive  as  it  is  conclusive. 

B>>  Margaret  Reid 


HERE  is  one  of  the  real  people.  Here  is  a  child  of 
the  screen,  who  has  grown  into  emotional  maturity 
untouched  by  the  stains  a  picture  career  leaves  on 
lesser  minds.  Here  is  a  girl  who  would  he  just  as  defi- 
nitely  a  person  were  she  obscure  instead  of  famous.  Here 
is  Janet  ( iavnor. 

There  lias  been  inevitable  confusion  in  classifying 
Janet.  The  haunting,  heartbreak- 
ing tendril  of  humanity  that  is  the 
cinema  Janet  is  taken  to  be  a  pro- 
jection of  her  real  self.  The  public 
receives  her  too  much  as  a  per- 
sonality. She  is,  rather,  a  magnifi- 
cent actress — an  artist  in  the  pure 
sense  of  the  word.  Which  is  con- 
clusively attested  by  her  characteri- 
zations of  cowed,  bewildered  waifs. 

Janet  is  neither  cowed  nor  be- 
wildered. Her  portrayals  are  not 
personal  ones.  She  is  the  sensitive 
instrument  through  which  they  ap- 
pear. But  she  is  wholly  independ- 
ent of  them.  Greater  talent  has  no 
Thespian  than  this. 

Her  work  is  not,  however,  essen- 
tially mental.     It  is  an  instinctive 
capacity    for   metamorphosis.      Her 
mergence  in  a  character  is  complete, 
studies  a  role  until  her  understanding  of 
it  is  perfect.      And  there  her  conscious 
work  ends.    Knowing  the  girl  she  is  play- 
ing as  well  as  she  knows  herself,  she  then 
forgets  Janet  Gaynor  and,  becoming  the 
character,  thinks,  feels,  and  acts  without 
deliberation.    "Living  the  part"  has  become 
a   platitude   through   overuse   by   players 
who  like  the  sound  of  it.    There  are,  actu- 
ally, a  meager  few  who  really  do  it — and 
they    were   born   that   way,    since   it   is 
spontaneous  flame  impossible  to  acquir 
Of   the    few,    Gaynor    is   just   about    the 
finest  example. 

She  is  a  vacation  for  directors.    Her 
instinct,  springing  from  total  surren- 
der to  the  part,  is  unerring.     Her  di- 
rector's principal  task  is  to  preserve 
the  delicate  mood.     Any  rude  jar  re- 
sults not  in  a  display  of  temperament, 
but    in    momentary   collapse.      When 
any  of  the  maddening  disasters  of  the 
studio  occur,  Janet  does  not  manifest 
noisy    indignation.      Unable    to    cope 
with  anger  or  tyranny,  she  hides  in  her  dressing  room, 
Sobbing  and  trembling,  a  reaction  of  which  she  is  deeply 
ashamed,  but  it  is  unavoidable,  due  to  the  high  key  in 
which  she  works. 

Meeting  her  out  of  studio  environment,  she  has  none  of 
the  indications  of  professionalism.  She  seldom  talks  about 
pictures,  having  a  terror  of  falling  into  the  Hollywood 
rut.  It  is  remarkable  that  she  has  no  evidences  of  the 
actress  about  her.  She  entered  pictures  at  the  formative 
age,   when   impressions  make   their  mark.      Yet  she  has 


developed  outward  from  herself,  rather  than  accumulat- 
ing the  influences  of  her  surroundings. 

Except  in  physical  strength,  she  is  strong  and  vital. 
Weakness,  associated  with  her  because  of  her  roles,  is  not 
part  of  Janet.  Her  mental  processes  and  their  mani- 
festation are  forceful.  Not  brilliant,  she  is,  however, 
soundly  intelligent.  Her  mind  functions  with  crystal 
clarity,  having  no  quirks  or  confusions. 
She  is  a  sponge  for  knowledge,  wanting 
to  know  the  reasons  and  workings  of 
everything,  not  satisfied  until  she  finds 
out  and  understands. 

There  is  nothing  giddy  about  her,  and 
nothing  equivocal.  She  comes  to  a  de- 
cision only  when  she  has  convinced  her- 
self that  it  is  the  right  one.  After  which 
a  fast  talker  can  persuade  her  to  act 
otherwise,  but  can  never  change  her 
mind.  This  applies  especially  to  studio 
activities  and  the  fact  that  she  can't  bear 
to  hurt  any  one's  feelings.  If,  however, 
the  issue  is  an  important  one,  she  quietly 
and  unobtrusively  plugs  the  logic  she 
feels  is  on  her  side,  until  she  gets  her 
way. 

Her  judgment  is  nearly  infallible.    She 
has  a  "sense"  for  what  is  right.    This  is 
partly  instinct  and  partly  an  intelligent 
knowledge  of  the  medium  in  which  she 
works.     There  are  no  arguments  over 
the    number    of    close-ups    al- 
lotted her.     It  is  in  the  rounded 
accuracy  of  the  production  that 
she    is    interested.      And    she 
knows   what   she   talks   about. 
Otherwise  she  doesn't  talk. 

Socially  and  professionally, 
her  poise  is  recent.  A  very 
big  party  at  Frances  Marion's 
home  was  the  occasion  of  my 
first  meeting  with  Janet.  It 
was  shortly  after  "Seventh 
Heaven,"  and  her  entry  into 
the  company  of  the  great.  She 
had  no  idea  she  was  already 
one  of  them  herself.  She  was 
painfully  shy,  turning  scarlet 
when  any  one  addressed  her, 
hiding  solitarily  in  corners, 
longing  to  go  home.  When 
Gloria  Swanson  sought  her  out 
and  said  that  she  envied  her 
the  triumph  of  "Seventh  Heaven,"  Janet  shook  with 
nervousness,  a  few  faint,  strangled  sounds  indicating 
her  gratitude. 

People  thought  her  adorable  then — timid  and  cute. 
Her  fresh  charm  sufficed  as  a  social  asset.  And  all  the 
time  she  was  growing  up,  her  acquisitive  mind  expanding 
like  a  swift-growing  flower  in  the  sun.  She  began  to 
read  omnivorously.  Her  stepfather,  whom  she  wor- 
shiped and  who  has  since  died,  urged  books  on  her.  It 
Continued   on   page    112 


Janet     Gaynor     adores     jazz     and     dances 

wildly    to    her    favorite    records,    but    only 

for  her  husband  or  her  mother. 


>< 


/ 


i.    remarkable  Itorjr  Opposite,  Ja"'  '  ,r'  h" 

mpatheticaUjr,   and   completely   by    Margaret    Ri 

•       ith  her  mimic  *clf  ainl    > 


76 


Marie  Dressier  and  Polly 
Moran,  right,  wouldn't  be 
themselves  without  a  scene 
of  comic  intoxication,  and 
who  can  play  them  more  ex- 
cruciatingly, whether  the 
stimulation  be  parlor  punch 
or  something  out  of  a  black 
bottle  ? 


That  inimitable  pair, 
Marie  Dressier  and 
Polly  Moran,  are  the 
stars  of  "Caught 
Short,"  a  tragi-comedy 
of  the  stock  market. 


Miss  Dressier,  above,  as 
Marie  Jones,  is  Miss  Mo- 
ran's  rival  in  the  business 
of  running  a  boarding  house 
across  the  street,  with  fre- 
quent quarrels  making  their 
rivalry   exciting  and    funny. 


Trust    Polly    Moran,   above, 

to  commit  a  social  error  in 

a  grocery  store  or,  for  that 

matter,  anywhere  else. 

Anita  Page  and  Charles 
Morton,  left,  are  the  young 
lovers,  Miss  Page  Miss 
Dressler's  daughter,  and  Mr. 
Morton  Miss  Moran's  pride 
and  joy,  with  complications 
that  recall  the  feud  of  the 
Montagues  and  the  Capulets. 


Nor\tfa>>  In 
Spring 

That's  where  you  will 
find    the    musical    ro- 
mance    called     "Bride 
66.1' 


le.mette  bfacDonald,  ncht, 
is  Imme,  finds  herself  the 
,in>miseil    bride    of    Robert 

ihohn,  as  Olaf.  while 
[ohii  (iarrick.  as  his  brother 

,  rds  her  with  reproach- 
ful • 


'I      \  v  . 
Ntb,    coi 
MacDonald,    .in    bii 

that    he    li.i-    Itolen    mniity. 

It    is    tins   tli.it    causa    bet 

rvcntii.ilh    in    beeOOM   a    lot- 
tery   bride,    WCMl    by    .1    man 

~ln    has   never   seen. 


I-*    E.    Brown,    above,    as 

Hoke,  is  the  swain  of  Zasu 

Pitts,  as  Hilda,  proprietress 

cafe    which    is   on   the 

<f     ruin    becaus- 

<ind-heartedn> «« 


Mi-s  liacDoaaM  an<!  Jobs 
(..irrick.  left,  are  happy 
sweetheart!  before  trouble 
then  Bod  sends 
him  doubting 

while    she    serv<  s    1    pr 
Hut     we     a 
ill  ends  j.iyl'tilly   in  ten- 
•  |. 1    i-n  1 


78 


Hard-boiled  Halite 

Self-seeking,  but  not  unsympathetic.  How  could  she  be 
when  Nancy  Carroll  plays  her  in  "The  Devil's  Holiday"? 

Halite  is  a  manicurist  who  doesn't  confine  her  activities  to  the  file  and 
the  buffer.  She  is  quite  a  financier,  in  her  way.  For  she  takes  charge 
of  prospective  customers  of  farm-machinery  salesmen.  The  sales  are 
always  consummated,  and  Hallie's  commissions  are  both  certain  and 
substantial.  On  his  first  visit  to  the  city  she  meets  David  Stone,  son 
of  a  rich  wheat  farmer,  who  falls  seriously  in  love  with  her.  Taking 
a  daring  chance,  she  marries  him  and  then  faces  his  father  and  elder 
brother.  It  is  at  this  point  that  Nancy  Carroll's  opportunities  as  a 
dramatic  actress  really  begin. 

She  is  seen,  above,  with  Phillips  Holmes,  as  Daind,  who  tells  her  of 
his  home  in  the  wheat  country.     Miss  Carroll,  left,  portrays  a  moment 
of  blank  despair  in  Hallie's  turbulent  life. 


t 


Tragedy  in  tke  Tropics 

The  death  of  Nils  Asther,  in  "The  Sea  Bat,"  can  be  nothing 

less  than  calamitous  to  those  who  have  been  waiting  patiently 

for  his  debut   in   the  talkies. 

Raquel  Torres,  above,  as  Xina.  finds  solace  in  the  brawny  fHmrr  of  Charles 
Bickford,  as  John  Simi,  a  convict  masquerading  as  a  missionary.  He  comes 
to  the  tropical  island  and  finds  the  girl  grief-stricken  by  the  death  of  her 
lover,  a  sponge  diver,  whose  life  has  been  taken  by  the  monster  known  t" 
the  superstitious  native-,  as  the  sea  bat.     He  break*   th<  ;x-ll  which 

holds  Nma  and — as  you  can  well  see — she  is  glad  of  it 

Nib  Astfaer,  right,  as  Carl,   whose  untimely   end  early  in   the  film   fa 
that  much  more  ^rief   for  his   I 


80 


It  happens  to  Loretta   Young,  in  "Road   to 

Paradise,"  when  she  attempts  to  masquerade 

as  her  twin. 

Miss  Young,  above,  as  Mary  Bretman,  and  Raymond 
Hatton  and  George  Barraud,  her  partners  in  crime,  in- 
vade the  home  of  the  girl  she  strongly  resembles,  only 
to  be  interrupted  by  the  police  and  the  son  of  the  house- 
hold. Whereupon  Mary,  in  a  costume  of  the  other  girl, 
pretends  to  be  she  and  deceives  the  officers,  but  not,  of 
course,  the  young  man.  However,  when  the  rightful 
heiress  returns  from  a  party  Mary's  masquerade  be- 
comes increasingly  difficult,  as  may  be  well  imagined. 
Incidentally,  Miss  Young  plays  both  roles — surely  a 
test  for  so  youthful  a  star. 

She  is  seen,  left,   with  George  Barraud,  her  guardian, 
who  loves  her. 


81 


Ladies  LoVe  Raffles 

And    good   reason,   too,   when  he   is   Ronald 
Colman   in   the   picture   of   that   name. 

Though  Raffles  has  appeared  on  the  screen  before,  he 
is  virtually  a  newcomer  by  reason  of  Ronald  Colman's 
artistry  in  speech  and  acting.  Unlike  Bulldog  Drum- 
mond,  whose  task  was  to  circumvent  crooks  who  were 
l>ersecuting  the  girl  he  loved.  Raffles  is  a  gentleman 
thief  who  reforms  because  of  the  woman  he  loves.  But 
in  order  to  extricate  his  pal  from  financial  difficulty,  he- 
enters  upon  what  he  resolves  will  be  his  last  adventure, 
with  a  diamond  necklace  his  objective.  And  only  a 
Raffles  could  emerge  triumphant  from  the  excitement 
that  toll' 

Mr.  Colman,  as  Raffles,  above,  is  the  object  of  Kay 
Francis*  admiration,  left,  and  of  Virginia  Brucc's,  right. 

The  picture,  right,  reveals,  him  in  the  act  of   a»si-t- 
ing  John  Rogers,  as  Crawshay,  to  escape. 


82 


Circumstances  sweep  Billie  Dove  into 

'One    Night    At    Susie's" — and  what 

happens   is  everybody's  business. 


Billie  Dove,  as  Mary, 
at  top  of  page,  consoles 
Douglas  Fairbanks,  Jr., 
who  faces  a  long  sen- 
tence because  of  a  mur- 
der committed  by  the 
girL 

Miss  Dove,  outer  left, 
portrays  a  moment  of 
serious  emotion  as  she 
finds  herself  trapped  by 
the  man  who  professed 
friendship  for  Mr. 
Fairbanks   and    herself. 

At  the  trial  Miss  Dove, 
left,  again  gives  evi- 
dence of  her  maturing 
powers  as  a  star  capa- 
ble of  tragic  acting. 


AsTke>?  See 
Themselves 


Myrtle 
Gebhart 


That  prayer  of  Robert  Burns  has  been  well  answered  for 
the  picture  folk,  who  see   themselves  on  the  screen   for 
to   avoid    and    personality    to   develop. 


picture 
mannerisms 


ROBERT   BURNS   expressed   the  wish.   "O,   wad   some 
giftie  gie  us.  to  see  oursel's  as  ithers  see  us," 


when  he 

A  film  player  has 

tliis  advantage  over 

the  rest  of  us.     1  le 

-  himself  in  a 
franker  and  clearer 
mirror  than  we  ; 

It  should 
"frae  monie  a  blun- 
der free"  him.  Is 
it  any  wonder  that 
actors,  aside  from 
their  good  lo 
are  exceptionally  at- 
tractive, charming 
of  manner,  and  ver- 
satile in  a  light  and 
entertaining  way  at 
many  accomplish- 
mer 

dej>ends 
upon     development 

native  talent  and 
the  acquisition  of 
other  gifts.  Con- 
stant study  of  their 
screen  selves,  if 
they  rinse  the  ego 
dust  from  out  of 
their    eves,    cannot 


a  woman's  finery  spoiled  by  a  small  detail. 


tat 


Singing   in   a    talkie 


brought 
voice. 


out   Jeanette   Loff's 


y 


George     Arliss     was     shocked 

when   he    saw    his    first   camera 

test. 


Lane  Chandler 
learned  sports 
that   he   kept   up. 


hut  remind  them  to  avoid  awkward  manner- 
isms, to  cultivate  accidental  gestures  which 
add  appealing  touches,  and  to  perfect  embryonic 
charm. 

Sports   which    they   have    to   learn    for    films 
benefit   their    health    and    usually    arc    kept    up 
afterward.      Singing,   dancing,    the   playii 
musical  instruments,  essential  to  some  degree  in 
their  work,   make  them   much   more   interesting 
in  private  life.      Personality   itself  duly  consid- 
ered, criticized  and  polished,  invests  impromptu 
numbers  at  parties  with  a  certain  radiance  which 
makes  them  appear  more  professional  than  they 
really  are.    Too,  the  latitude  of  interests  engen- 
dered by   film  work  widens  their  horizons  and 
familiarizes   them   with    many    subjects,   making 
them     more    companionable     than     persons     re- 
stricted to  a  cycle  uf  endeavors. 
"My  shadow  and  me,"  is  the  refrain  of  a  popular  song,     l'nltii 
into  practice  has  revealed  to  players  unnoticed  blemishes  and  how  to 
make  their  best   features  more  attractive.     The  speaking  shadow  lias 
produced    voices    that    surprised    their    owners,    some    of    unsusp 
melody 

Their  shadow  selves'  predicaments  and  the  actions  taken,  provided, 
of  course,  by  the  story,  have  helped   several   in   similar   situ.'/ 
their  own  lives,  and  some  say  they  have  learned,   from  the  charad 
that  they  played,  traits  which  they  adopted  personally. 

If  ,,!!••  idy  of  one's  shad 

should  he  a  cure  for  egotism.    Certainly  it  is  not  conducive  to  pride, 

though  it  is  human  to  shirk  i  As  Glenn  Tryon  pointed 

out.  "When  that   fellow  on  the  screen  does  the  slightest   thing  which 

-us  of  intelligence,  the-  to  puff  out  the 

and  say  hlithcl  good,  eh?'      If  it's  punk,  alibis  com 

mind  by  the  dozen.    Sometimes  I  would  hi  my  shad 

p    tine   an   actor,    so   distinguished    a 
claims  to  have  felt  a  distil  '    when  he  first  saw  hin 

am  thankful  that    F   was  left   to  myself   in  the  making  of  that  test,"  he 
said,  "for  it  was  tcrrihlc.     1  learned  a  valuable  lesson,  quickly  and  thoroughly. 
1   presumed  to  think  that   I  could  dll  If.     1 


SI 


As  Tke>>  See  Themselves 


One    close-up    of    Sally 

B  1  a  n  e  '  s    unrestrained 

laugh  was  enough. 


man  seated  at  a  table 
making  a  ludicrous  ef- 
fort not  to  look  nerv- 
ous. He  picked  up  an 
envelope  with  empha- 
sized nonchalance,  tore 
it  open  with  a  flourish, 
and  took  out  the  letter 
as  though  he  were  pro- 
ducing rabbits  from  a 
hat.  The  lights  in  the 
projection  room  flashed 
on.  I  drooped  in  shame. 
T  had  always  believed 
exaggeration  essential 
for  the  movies,  but  I 
saw  my  error.  Re- 
straint must  be  prac- 
ticed.*' 

That  her  clear  so- 
prano might  be  good 
enough  for  public  en- 
tertainment never  oc- 
curred to  Jeanette  I  ,off, 
until    the    screen     went 

vocal,  and  not  lor  some  months  after  that.  The  discovery  was  acci- 
dental. She  was  asked  to  play  opposite  a  stage  favorite  in  a  test 
for  a  musical  picture.  The  skit  included  a  song-  duet.  She  was 
instructed  merely  to  trail  along  the  best  she  could.  She  did.  Ex- 
ecutives emerged  from  thi  lion  room  enthusiastic,  not  about 
the  stage  singer  but  about  Jeanette's  voice!  You  see.  the  shadow. 
reflecting  harshly  tor  one,  gives  another  a  pleasant  surprise. 

"Be  prepared"  might  be  an  actor's  motto  as  well  as  a  Boy  Scout's. 
For,  besides  acting,  he  must  be  able  to  carry  on  the  occupations  of 
a  role,  at  least  to  a  degree  giving  atmospheric  verity.  While  en- 
acting bis  scenes,  be  must  impersonate  a  boxer,  cowbov,  aviator. 
acrobat,  dancer,  farmer,  typist,  or  gangster,  some  familiarity  with 
Callings  being  momentarily  essential, 


Though  one  of  the  youngest  stars,  Charles  Rogers  has 
had  to  learn  the  rudiments  of  many  trades  and  professions. 
Flying  a  plane,  bringing  a  tug  boat  through  the  Golden 
Gate,  working  on  aerial  apparatus  thirty  feet  from  the 
ground,  high  diving,  racing  in  a  track  meet  against  an  array 
of  college  runners,  and  playing  seven  musical  instruments 
are  some  of  the  things  he  has  been  called  upon  to  do.  He 
had  never  seen  an  ice  boat  until  shortly  before  he  was 
scheduled  to  sail  one  on  Lake  Placid.  Having  to  learn  so 
many  different  things  sharpens  aptitude  and  enables  an 
actor  to  become  adept  quickly.  At  one  time  Buddy  was 
musically  limited  to  the  trombone  and  drums.  Soon  he 
acquired  piano  and  saxophone  technique,  the  latter  being 
mastered  by  radio  lessons  in  one  month,  at  any  rate,  enough 
to  make  a  more  or  less  harmonious  noise.  The  miniature 
organ  was  his  next  victim. 

Though  she  had  sung  in  light  opera,  until  she  saw  the 
contortions  through  which  she  put  her  mouth  and  throat, 
Bernice  Claire  had  no  idea  that  she  was  not  singing  at  all 
pictorially.  Now  the  youngest  prima  donna  uses  her  so- 
prano just  as  effectively,  but  without  making  faces  at  the 
audience. 

No  one  had  ever  noticed  the  tiny  mole  on  Carmel  Myers' 
upper  lip.  Her  first  close-up  magnified  the  small  defect 
alarmingly,  making  her  mouth  appear  crooked.  She  learned 
to  cover  it  with  make-up. 

"One  of  the  most  enlightening  experiences  of  my  life, 
but  far  from  the  most  flattering,"  John  Boles  said  of  his 
introduction  to  his  shadow.  "I  didn't  walk  the  way  I 
thought  I  did.  I  didn't  smile  right.  1 
looked  like  an  awkward,  overgrown  school- 
boy. I  was  discouraged  and  ready  to  quit, 
but  the  director  laughed  and  said  that  all 
newcomers  feel  that  way,  and  suggested  that 
I  check  up  all  the  wrong  things.  By  keep- 
ing the  searchlight  going,  and  listening  to 
constructive  criticism,  I  have  been  able  to 
modify  some  of  my  faults." 

With  her  first  talkie,  Anita  Page  became 
conscious  of  a  nervous,  little  laugh  and 
cough  as  a  running  accompaniment  to  her 
conversation.     In  her  quick  chatter  she  had 


Laura  La  Plante  learned    "to  think  before 
she  acts." 

Photo  by  Jones 


The 


lMiolo  Ijy  A  in  icv 

screen    exaggerated    Ivan    Lebedeff's 
continental    mannerisms. 


As  Tkey  See  Themselves 


85 


not  noticed  it.  Poise  and  assurance  arc  acquisitions  she 
has  made  since  previewing  herself. 

Hugh  Trevor  had  to  learn  how  to  use  his  hands  without 
obscuring  the  landscape.  At  first,  they  looked  exactly  as 
they  felt — like  a  couple  of  ham-,  lh-  shadow  was  too 
thin,  too,  as  though  it  meant  to  evaporate,  which  is  no  young 
leading  man's  desire.  Consequently,  he  set  about  develop- 
ing hi>  muscles  with  a  daily  work-out.  His  reflection  now 
appears  .-talwart. 

een  work,  particularly  in  the  talkies,  has  given  Gary 
per  a  self-confidence  which  he  lacked. 

Watching  himself  still  gives  that  old-timer,  George  Faw- 
■  .nnv    feeling.     Naturally,   he   points  out,   an 
actor's  own  work  is  his  greatest   interest,  and  he  scarcely 
glanc  hers  in  a  scene.    Added  to  the  strange  fascina- 

tion, there  is  the  constant  appraisal.  Mr.  Fawcett  has  a 
habit  of  wiggling  a  finger,  and  is  always  on  the  lookout  for 
the  rt 

"Not  being  a  sheik,  I  never  could  be  obsessed  with  my- 
he  chuckled.  "I  enjoy  watching  myself  in  a  line 
uniform,  in  a  role  utterly  removed  from  my  own  real 
being.  But,  ordinarily,  though  there  exists  a  peculiar  hyp- 
-.  I  avoid  thinking  of  it  very  much,  for  it  brings  on  a 
morbid  introspection.  I  try  to  regard  my  work  objectively 
and  critically,  as  though  it  were  some  one  else's  job." 

"My  first  picture  was  a  shock  to  my  vanity,"  Mary  Nolan 
said.  "The  most  difficult  lesson  to  learn  is  naturalness. 
v  .-elf-conscious  thought  seem-  t.i  register  more  quickly 
than  a  smirk  does  away  from  the  camera.  I  never  saw  any 
one  look  or  act  so  stilted.  I  recalled  each  strained  effort 
to  hold  this  or  that  pose,  and  realized  that 
rehearsal  should  perfect  technique,  that  once 
in  the  scene,  emotional  expression  is  more 
natural.  So  my  work  does  for  me  suhcon- 
sciously  what  I  tried  to  teach  myself  to  do 
intentionally." 

Even  the  suave  and  lithe  Ivan  Lehedeff 

stonished    at    the    many    ungracious 

movements  which  his  shadow  made.     Social 

mannerisms  native   to  the  continental   look 

overemphasized,  he  discovered. 

Laughing  broadly  used  to  he  Sally  Rlane's 


m 


The  screen  showed  John  Boles  his  bad  walk 
and  grin. 


Lillian  Roth's  work   in 

the  studios  taught  her 

patience. 


enthusiastic  manner  of 
enjoying  a  joke.  <  me 
close-up  of  Sally's  hu- 
mor in  action  threat- 
ened to  swallow  the 
studio.  Smiling  pret- 
tily and  standing 
erectly  have  been  her 
principal  aims  in  beau- 
tification  after  her  lir-t 
glance  at  herself  in 
the  silver  mirror. 

|oan  Crawford  ital- 
icized her  sentences 
with  nervous,  pano- 
ramic gestures  of  her 
hands  and  arm-.  It 
was  less  noticeable  in 
silent  pictures  than  in 
the  talkies  when,  with 
vocal  accentuation  of 
her  words,  the  double 
emphasis  made  it 
that  she  wa-  declaim- 
ing and  waving  all 
over  the  screen.    Asking  others  in  the  i  pinch  her  when  -he 

started  tin-   signals,   -he  quickly  cured   herself   of   the  hah:' 
Lombard   also   learned    from   her 
lation. 

Robert    Montgomery's    mannerism    of    rubbing    t!  • 
his   hand-   together   became   marked    under   tl 
eye,  which  showed   Elliott   Nugent  a  sloucl  Ik.     He 

a  hri-k  <K'ait  and  Straighteni 
left    !  [alley   with   a   limp,    • 

Practice  almost  eliminated  the  limp.     Elevatii  in  a 

quizzical  expression  made  hi-  1  until  i 

Prior  to  the  talki<  impulsn 

effort  wa  low  down   for  clarity  and  einph.i 


Jack  Mulhall  saw  himself  eat,  and  took  up 
gesture   study. 


8G 


As  TkeV  See  Themselves 

Though  a  Westerner,  Lane  Chandler  had  to  learn  specialized  athletics, 
fencing,  boxing,  tennis,  and  golf,  which  made  more  flexible  the  muscles 
hardened  by  horseback  riding.     His  carriage  has  improved,  also. 

Neil  Hamilton  golfed  for  a  film  and  has  played  the  game  ever  since. 
After  some  lessons,  he  produced  a  voice  sufficient  for  another  film  and 
continues  to  cultivate  it. 

Neither  Wallace  MacDonald  nor  Lloyd  Hughes  had  the  slightest  idea 
of  possessing  singing  voices  until  the  caroling  cinema  discovered  them. 
In  addition  to  the  voice  which  the  "warblics"  obligingly  produced  for 
Belie  Daniels,  she  considers  the  fencing  which  she  had  to  master  for  a 
role,  and  which  was  so  fascinating  that  she  kept  it  up,  an  important 
adjunct  in  its  aid  to  agility  and  grace. 

"To  think  before  I  act,"  is  the  lesson  Laura  La  Plante  has  learned. 
"The  correction  of  silly  mannerisms,  the  avoidance  of  ugly,  unconscious 
grimaces  and  of  unnecessary  motions,  are  possible  if  one  precedes  action 
with  thought.  People  comment  that  I  am  very  deliberate.  If  so,  it  is 
because  I  have  looked  at  many  bad  rushes  of  myself." 

Working  on  "Seven  Keys  to  Baldpate"  convinced  Richard  Dix  that  a 
healthy  body  and  an  active  mind  are  the  two  most  important  qualifica- 
tions, to  be  maintained  at  all  cost,  with  the  realization  that  if  he  hadn't 
these  two  aids  the  strain  of  so  much  running  around  at  a  terrific  tempo 
would  have  been  unbearable. 

While  most  players  discard  mannerisms,  others  assume  them  to  make 
personalities  more  pronounced.  Alec  B.  Francis  wore  his  hair  long  for 
a  characterization.  It  added  dignity  with  a  picturesque  touch,  so  he  has 
worn  it  that  way  ever  since.  Not  until  he  acted  in  the  movies  was  Mr. 
Francis  aware  of  walking  pigeontoed. 
Constant  practice  has  now  enabled  him 
to  "toe  out." 

Continued  on  page  114 


Photo  by  V,. 

Hugh   Trevor's   hands   used   to 
steal  the  scenes. 

His  lack  of  graceful  gesture 
never  was  so  apparent  to  Jack 
Mulhall  as  when  he  saw  nim- 
sel  I  eating  asparagus.  He  re- 
solved to  acquire  a  less  awk- 
ward manner  and  never,  never, 
to  eat  spaghetti  in  a  film  ! 

Having  tried  many  coiffures, 
Norma  Shearer  accepted  the 
camera's  choice  of  a  lone:, 
smooth,  bchind-the-ears  hair- 
dress  which  invests  her  with 
added  dignity.  The  shadow  of 
Catherine  Dale  Owen  taught 
the  lovely  blonde  to  hold  her 
eyes  naturally.  Fearful  that 
they  might  not  photograph 
large  and  bright,  at  first  she 
held  them  as  wide  open  as  pos- 
sible, achieving  a  pop-cved 
gaze,  staring  and  distracting. 
Tin-  carriage  upon  which  she 
had  prided  herself  as  stately 
and  graceful  seemed  stilted. 
Joan  Bennett  stooped,  until 
she  saw  how  ungainly  she  ap- 
peared. She  thought  that  wear- 
ing her  hair  parted  on  the  side 
was  becoming,  before  she  bad 
seen  her  prancing  picture. 

Nancy  Carroll  was  told  that 
her  face  was  too  round  for  the 
camera.  Experiment  showed 
that  the  circular  effect  was  ex- 

rated  by  her  short  bob.  Mary  Brian,  bay  Wrav, 
and  other  girls  have  learned  artful  dressing,  a  gift  of 
no  mean  value  in  personal  life,  from  screen  costuming 
and  the  advice  "i  expert  designers. 


iMioio  bj  Dyet 
Buddy  Rogers'  roles  forced  him  to  cultivate  his 
music. 


Joan  Crawford  was 
cured  of  waving  her 
hands    while    talking. 

Photo  by  L 


B7 


Rouging  The  Rose 


An  extravagant  phrase,  but  in  speaking  of  the  film  gals  one 
has  to  compete  with  those  Boulevard  sheiks,  you  know. 


A  new  us<  imatic 

pencils    is    demonstrated 

by    Dorothy   Jordan,   be- 

■  the  large 

end    to    outline    her    lip-. 

and     the     point     helps     to 

up    lier    eyebrows. 


Anita  Page,  above,  scorns  the  use 

ky  beauty  aids  in  making  up 

her  lips,  but  the  screen  loses  noth- 


wants   no  bet- 
ter make-up  brush   than   her  own 
little  finger. 


Marion  Shilling,  above,  invents  a  new  u 

orange-wood  sticks. 


Raquel  'I 

prize  on   her   lip   mold,   whicl 
stamped   on    rouge  and 

lier  lip<. 


8JS 


Beatrice  Fairfax,  Please  Help! 

An  appeal  for  counsel  in  untangling  the  love  complications  that  disturb  the  humbler  folk  of  Hollywood. 


B>>  H.  A.  Woodmansee 


Illustrated  by  L>ui  ^rugo 


IN  amorous  Hollywood  rise  some  of  the  knottiest 
problems  that  ever  confronted  a  dispenser  of  advice 
to  the  lovelorn.  It's  the  unvarnished  truth !  The 
couple  who  combine  the  picture  business  with  love's 
young  dream  have  got  to  unravel  not  only  the  snarls 
encountered  by  the  ardent  everywhere,  but  also  ones 
that  are  peculiar  to  Hollywood.  Some  of  these  prob- 
lems are  astonishing.  Some  of  them  are  laughable.  And 
where  is  the  specialist  on  affairs  of  the  heart  who  can 
solve  them  ? 

Take  the  small  matter  of  the  boy  friend's  bounding 
ego.  Girls  everywhere  are  used  to  suitors  whose  idea 
of  a  swell  evening  is  to  sit  and  talk  grandiosely  about 
themselves.  Actors,  as  a  rule,  have 
more  than  their  share  of  that  sublime 
self-appreciation.  Showing  off  is  their 
business  and  their  pleasure,  too. 

It  was  bad  enough  in  the  days  of 
silent  pictures,  when  the  young  actor 
decorated  his  rooms  with  one  picture 
of  his  girl  and  ten  of  himself,  and 
competed  with  her  for  the  use  of  the 
mirror.  But  now  that  the  talkies  have 
made  him  voice  conscious,  matters  are 
worse.  He  wants  to  prove  to  himself, 
to  his  sweetie,  and  to  anybody  who 
may  be  listening  in,  that  he  would  be  a 
knock-out  in  the  audible  films. 

Many  a  would-be  Conrad  Nagel  or 
William  Powell  is  sitting  up  nights 
practicing  on  the  long-suffering  lady 
friend.  And  you  think  that's  nothing? 
Well,  imagine  the  most  bumptious 
radio  announcer  who  assumes  that 
folks  are  listening  in  just  to  revel  in 
his  vocal  personality,  remove  the  pos- 
sibility of  tuning  him  out,  multiply  him 
to  the  nth  power,  and  you  may  get  a  rough  idea  of  the 
film  suitor  who  has  fallen  in  love  with  his  own  voice. 

At  the  slightest  encouragement  he'll  get  up  and  sing 
a  theme  song,  or  imitate  the  "Two  Black  Crows."  And 
don't  think  that,  in  the  orgy  of  talk  for  talk's  sake,  the 
lady  in  the  case  is  any  less  objectionable  than  the  man. 
Many  a  Hollywood  romance  would  last  longer  if  the 
participants  would  talk  less  and  say  more.  But  how 
are  you  going  to  make  them  shut  up? 

One  of  the  problems  raced  by  the  Hollywood  girl 
yearning  for  a  man  to  take  her  places,  is  the  fact  that  the 
film  male  has  been  pretty  badly  spoiled.  He  expects 
and  gets  more  than  most  men,  both  because  he  is  a 
rather  glamorous  figure  to  girls,  and  because  there  is  an 


Even  the  man  with  ears  like  the 
handles  of  a  loving  cup  isn't  with- 
out a  girl  friend. 


undersupply  of  eligible  boy  friends  in  the  film  capital. 
Many  a  young  actor  thinks  it's  a  lucky  girl  who  has  the 
privilege  of  taking  him  around  and  paying  the  bills.  It 
must  have  been  a  movie  sheik  who,  according  to  the 
anecdote,  pushed  away  the  girl  he  was  kissing,  saying, 
"There.     That's  all  you  can  have!" 

In  fact,  the  girl  who  is  enamored  of  an  actor  has 
to  be  prepared  to  put  up  with  almost  anything.  Any 
day  her  sweetie  may  be  hired  for  a  character  part  and 
be  ordered  to  grow  a  beard.  He  stops  shaving.  Spikes 
sprout  out  all  over  his  face.  His  kisses  are  an  ordeal, 
and  he  looks  like  something  God  never  created.  He 
continues  to  take  her  to  the  show  places,  giving  the  im- 
pression of  an  Airedale  in  evening 
clothes.  It's  enough  to  shatter  a  girl's 
romantic  notions. 

Many  a  Hollywood  gentleman  finds 
it  profitable  to  maintain  a  flourishing 
beard  as  a  permanent  asset.  The  beard 
brings  him  bits  and  even  roles,  when 
without  it  he  might  be  jobless.  Some 
"beards"  get  $20  or  more  a  day  for 
lending  their  facial  herbiage  to  a  scene. 
If  the  director  uses  the  cherished 
beard  for  a  gag  in  a  comedy,  such  as 
allowing  a  child  to  swing  on  it,  or  set- 
ting fire  to  it,  he  gets  even  more.  Love, 
fortunately,  is  blind,  but  more  than  one 
sweetheart  of  a  beard  would  prefer  to 
have  him  clean-shaved. 

One  young  fellow  allowed  his  idol 
to  wheedle  him  into  shearing  off  his 
valuable  doormat  for  the  sake  of  im- 
proving   his    appearance.       Alas,    he 
found  he  was  no  longer  wanted  in  the 
studios !     His  Delilah  had  robbed  her 
Samson  of  his  power.     Like  Samson, 
he  felt  in  exactly  the  mood  for  pulling  down  a  temple. 
It's  the  old,  old  conflict  between  love  and  duty,  with 
comedy  relief ! 

Hollywood  is  a  paradise  for  the  suitor  of  eccentric 
appearance.  You'll  see  many  a  girl  going  around  with  a 
fellow  who  looks  as  if  he  had  stepped  out  of  a  Milt 
Gross  comic  strip.  All  the  eccentric  comedians,  the  cir- 
cus dwarfs,  India-rubber  men,  sword  swallowers  and 
living  skeletons  get  into  pictures  sooner  or  later,  and 
all  are  on  the  eligible  list  of  some  Hollywood  maiden. 
Girls  in  Des  Moines  or  Atlanta  may  scorn  the  suitor 
who  has  ears  like  the  handles  of  a  loving  cup,  a  nose 
like  an  ant-eater's,  and  the  general  expression  of  a 
ventriloquist's  dummy.     But  often  the  Hollywood  girl 


doesn't  care  it  her  boy  Friend  does  look  like 
something  dragged  out  of  the  aquarium  as 
long  as  it's  putting  him  over  in  the  movies. 
What  it  her  "heavy  sugar"  does  weigh  410, 
and  gets  around  like  a  slow-motion  film  come 
to  life?  That  very  fact  is  his  claim  to  fame 
and  fortune. 

The  fellow  with  scrambled  eyes  doesn't  wan- 
der about  Hollywood  lovelorn,  lie  finds  plenty 
of  beautiful  girls  who  are  glad  to  he  seen  with 
him,  to  marry  him.  And  the  plug-Ugly  fighter 
with  the  broken  nose,  the  cauliflower  ears,  who 
can  play  ape  roles  almost  without  make-up.  is 
never  lonely.  The  professional  strong  man 
finds  a  beautiful  girl  to  sit  on  the  knee  across 
which  he  bends  crowbars,  to  be  caressed  by  the 
hands  that  tear  telephone  directories  in  two. 

yes,  the  gallant  of  odd  appearance  finds  hearty  wel- 
come, providing  lie  has  mack'  good  in  pictures,  hut  he 
brings  his  problems.  Take  the  case  of  the  Chinese  giant, 
who  has  played  in  several  pictures.  llis  girl  friend  is 
a  good  two  feet  shorter  than  himself,  and  the  difficulties 
that  little  matter  of  height  presents!     Recently  the  girl 

-  contemplating  the  purchase  of  a  new  Ford  coupe, 
but  she  was  simply  flabbergasted  by  the  problem  of 
squeezing  her  seven  feet  six  inches  of  boy  friend  into 
that  perambulating  bandbox!  It's  just  one  of  those 
strange  puzzles  of  Hollywood  courtship  that  seldom 
come  to  light. 

There  is  the  sad  case  of  the  girl  whose  wooer  is  a 
two-reel  comic.  She  take-  him  quite  seriously,  for  there 
is  a  brain  and  character  hidden  under  his  motley,  and  it 
pains  her  to  have  her  idol  regarded  as  a  stupid  buffoon. 
He  has  taken  falls  and  has  been  knocked  around,  until 
the  girl  fears  that  he  may  end  in  a  hospital  or  sanitarium, 
like  other  unfortunate  slapstick  clowns.  He  has  done 
ss-eyed  parts  until  she  is  apprehensive  that  his  eyes 
will  stay  that  way  permanently.  She  does  a  lot  of 
worrying  about  those  comedy  mishaps  of  his.  What  to 
do.  what  to  do? 

Consider  some  of  the  stumbling-blocks  in  the  path  of 
the  filmland  romance.  Hollywood  love  is  notoriously 
tickle,  often  unusually  selfish.  If  one  of  the  pair  happens 
to  be  of  a  jealous  disposition,  there  is  likely  to  he 
trouble.  Xot  only  does  many  a  girl  know  that  her 
beloved  i>  kiting  another  in  a  scene  at  the  studio  while 
die  waits  for  him.  but  he  later  takes  her  to  the  theater 
his  love-making  on  the  screen.  She  hears  other 
women  saying,  '"What  a  perfect  pair  of  lover-!"  Then 
-he  read-  that  her  lover  and  his  leading  lady  are  rumored 
to  In.-  engaged !    It's  the  bunk,  but  a  jolt  nevertheh 

It  work-  the  other  way  just  as  well.  Some  of  the 
lady  motorist-  of  Hollywood  find  it  good  policy  to  do 
a  little  judicious  flirting  with  the  traffic  cops.  It  saves 
a  lot  of  summonses  for  traffic  violation-.  But  sometimes 
when  the  jealous  boy  friend  sees  his  darling  getting  so 
chummy  with  the  po- 
nce force,  he  doesn't 
understand. 

A  player  is  gener- 
ally acting,  even  with 
the     girl     he     loves. 
He's   aj  >t    to   change 
his    personality    and 
attitude  overnight  as 
the  result  of  a  hit  in 
•  •  new  role. 
n    gentleman- 
alKiut-town  may 
very    different    type 
screen,     but     he 
will   usually   assume 


Beatrice  Fairfax,  Please  Help! 


T  w 

r 


Growing   a   beard   for   the   movies    is    an    inducement    for    girls    to   go 

out   with  a  man. 


that  he  has  the  -ame  savoir-faire  that  appeals  so  powi 
fully  to  the  ladies,  no  matter  where  he  may  be.  I  h< 
man  who  gets  over  as  a  masterful  brute  in  pictures  is 
apt  to  build  up  a  cave-man  personality  for  off-screen 
uses.  Often  this  soil  of  posing  gives  the  lady  friend 
an  acute  pain.      Hut  what  can  she  do  about   it? 

Indeed,    actors   occasionally   do    some   of    their 
acting  at  the  expense  of  their  beloved.     Suppose  a  T 
pian   feels  that  his  heart's  desire  i-  getting  rather  indif- 
ferent.   Ah,  an  idea — he'll  appeal  to  her  pity!     He  tells 
her   she  has  broken   his  heart.      She   -mile-.      He   makes 
a  melodramatic  attempt   at   suicide.      Hurrah,  it   work-! 
The  poor  girl  is  scared  out  of  her  wits.     He  is  pleased 
with  himself.     He  may  be  a  failure  at  arousing  emotions 
on  the  screen,  but  he  can  play  on  the  feelings  of  the  girl 
friend,  all   right,  all   right!      But,   unless   the  girl   i-   i 
ceedingly  gullible,  she'll  soon  catch  on  to  his  trickery 
and  treat  him  with  the  contempt  that  he  deserves. 

One  of  the  principal  problem-  put  up  to  the  specialist 
on  heart  advice  is.  how  is  a  girl  to  pick  a  husband? 
That  is  a  puzzle  indeed  in  Hollywood.  Shall  she  marry 
for  love?  Then  she  must  remember  when  her  beau  says, 
"You're  the  only  girl  1  ever  loved,"  that  acting  is  his 
business;  that  ability  to  make  love  gracefully  and  con- 
vincingly is  part  of  it.  She's  got  to  be  uncannily  good 
at  seeing  through  pretense,  keeping  in  mind  the  fact 
that  an  actor  has  a  way  of  hypnotizing  himself,  for  the 
moment,  into  believing  whatever  he  may  be  saying.  She 
must  remember  that,  as  the  wife  of  a  personable  player, 
she  will  have  lots  of  would-be  rival-  among  the  ladi 
How's  that  going  to  work  out? 

Just  how  is  the  Hollywood  girl  going  to  peer  into  the 
future  of  the  young  actor  who  i-  proposing  that  she 
take  him  for  the  better  or  worse?  Xo  matter  how  hard- 
headed  and  practical  she  may  be,  she'll  probabl) 
fooled.  Good  clothe-,  a  car,  and  signs  of  affluence,  don't 
mean  a  secure  future,  or  even  present.  The  big  car 
may  not  be  paid   for.      The  fine  contract  may  not  be 

renewed.       How    can    the    prospective    bride    tell,    in 

majority  of  cases,  whether  in 


Squeezing  seven  feet  six  inches  of  boy  friend  into  a  Ford  was 
her  problem. 


f)\r  years  she'll  be  living  in  a 
rly     1  lills     man-ion.     or 
taking  in  washing  ? 

Many  a  charming  boy-: 
girl  romance  has  been  bn 
up  by  the  urgent 
protecting  one'-  future,   i 
could    name    a    number    of 
COUpleS     who     u  ting 

along    admirably,     v 
at    i  them 

catapulted    into    film    f 
The 

him  new 

1 17 


«.o 


Withi 


m 


eir  Lairs 


The  hearthstone  is  perhaps  the  magnet  that  causes  the  stars 
to  "simply  not  go  out  at  all." 


Who  can  say  what  scenes  King 
Victor,  below,  visualizes  in  the 
blazing  togs  of  his  fireplace  be- 
fore they  find  their  way  to 
celluloid? 


:V 


Xil>  Astier,  above,  as  one 
would  expert,  has  a  fireside 
decorated  with  books  and 
homy  portraits,  instead  of 
strange  odds  and  ends. 


The  hearth  and  home  of 
John  Gilbert,  above,  has 
been  a  subject  of  no  little 

interest  lately. 


' 


r> 


K 


„*^^ 


m  i 


Rente  Adoree,  above,  comes  home  to 
a  cozy  nook  after  the  day's  toil. 

The     fireplace    of     Norma     Shearer, 

right,  evidently  is  part  of  a  gay  color 

scheme. 


William  Haines,  above,  is  the  sole 

master    of     this     unusual     corner, 

which    seems    far    removed    from 

the  roles  he  has  to  play. 


s 

TECHNICOLOR 
PRODUCTIONS 

BRIDE  OF  THE    REGIMENT,  .  enne    Segol 

•  National);   BRIGHT     LIGHTS,    w.th    Doroihy 

jnol);   DIXIANA,  with    Bebe 

-'$   (Radio  Pictures)    Technicolor  Sequences; 

GOLDEN     DAWN,      w,th     Walter     Woolf     ond 

Segol  (Warner  Bros);    HIT  THE  DECK, 

Jack  Oolue  and  Polly  Walker  (Radio)  Techn,- 

■•-:•        KING   OF   JAZZ,    starring    Paul 

MAMBA,      ..  Hi     Eleanor 

Boardmon  ond  Jean   Hersholt   ('  vaMMY, 

Jolson    (Warner    Bros  }    Technicolor 

-"ces;   PARAMOUNT   ON    PARADE, 

')  Technicolor  Sequences,  PUTTIN' 
ON  THE  RITZ,  Marring    Harry     R.chman     (United 
quences;  RADIO  RAMBLERS, 
•Voolsey  and   C 
lee  (Radio)  Technicolor  Sequences.  SALLY,  s 

SHOW    GIRL    IN 
HOLLYWOOD, 

"-3NG   OF  THE    FLAME, 

■ 

SONG  OF  THE  WEST,  .-.  -  John  Boles 

THE  ROGUE 
SONG, 

Dole     Owen      (Metro-G".  fr),      THE 

VAGABOND    KING, 


MAURICE  CHEVALIER — whose   personality  wooed    and  won  the  whole  U 
States  in  his  sensational  Paramount  successes — stars  again  in  "Paramount  on  I 

Maurice  Chevalier  was  a  sensation  in  the  drab  black-and-grays. 
But  in  TECHNICOLOR  ...  he  steals  your  heart  for  keeps !  For  it  is 
the  real  Maurice  who  carries  you  along  on  the  crest  of  many 
emotions  .  .  .  talking,  laughing,  dancing  .  .  .  singing  his  newest  hit, 
"Sweeping  the  Clouds  Away,"  from  "Paramount  on  Parade."  Tech- 
nicolor, too,  you  realize,  has  "swept  the  clouds  away."  The  dim 
shadows  of  yesterday's  "movie"  today  glow  with  life.  Scenery 
costumes,  the  characters,  all  seem  to  awaken  as  Technicolor  im- 
parts  a    personality   that   is   fresh,    life-like,   enchanting. 

Technicolor 

/>  natural  color 


The  Perfect  Comedy  Team 

Marie  DRESSLER 
and  Polly  MORAN 


I      MOMS  FlA»*r 


ith 
ANITA 
PAGE 

Adaptation     and 

Dialogue  by 

W1LLARD    MACK 

Directed  by 

CHARLES  F. 

RIESNER 
Suggested  by 

EDDIE 

CANTOR'S 

book. 


From  wash-boards  to  Wall  Street  —  from 
cleaning  up  in  the  kitchen  to  cleaning  up 
in  the  stock  market!  What  a  riot — what  a 
scream — what  a  panic  of  laughs — are  these 
two  rollicking  comedians  as  they  romp  their 
way  through  the  merriest,  maddest  picture 
you  ever  saw.  How  they  put  on  the  ritz 
while  the  money  rolls  in!  Then  came  the 
dawn  —  and  back  to  the  soap  suds  with 
Marie  and  Polly.  Don't,  don't,  DON'T 
miss  seeing  "Caught  Short". 


Ji'Nf  M\RO 


METRO-GOLDWYN-MAYER 


Alorc  Stars  Than  There  Arc  in  Heaven 


«>l 


Hail,  BraVes! 

Some  well-known  faces  trc 
turned  toward  the  horizon  as  u 
to  see  the  first  sign  of  a  return- 
ing mate  in  war  paint  and 
feathers. 

Anit.i   Page,   left,   gives   the    impression 

of   ■  sive    squaw    more    familiar 

with  duty  than  with  love 


Fifi  Dorsay,  right,  is  all  prepared  to  laugfa  off 

any  suspicions  her  brave  may   have  of  goings-on 
in  his  absence. 

Alice  White,  below,  is  all  set  to  sing  "Tiptoe  Into 
My   l'i'i  mething  like  that. 


r-» 


Evelyn  Brent,  left.  1 

time    to    brood    on    her 

in   the   absence  of 

■  d  chief,  and  the 

i-    if    a   grunt    from 

him     at    the     wronp    time 

would    cause    her   to    give 

him  a  piece  of  her  mind. 


R 

i>     frankly     an     I  ti  d  i  a  n 
beauty  of   mu-ical   ( 
and  not  the  plaint,  in  "The 
March  of  Time." 


92 

Continued    from   page  63 

"Well,  you  are,"  he  answered  a  bit 
glumly. 

She  pondered  over  that  after  he 
had  gone.  Would  her  success — if 
she  were  successful — come  between 
them  ?  Other  people  hadn't  been  able 
to  stand  it.  Look  at  Billie  Dove  and 
Irvin   Willat. 

"But  Danny  and  I  are  different," 
she  told  herself  consolingly,  and  went 
to  bed.  feeling  rather  guilty  because  it 
was  eleven  o'clock,  and  she'd  been 
given  strict  orders  to  be  in  bed  by 
ten,  as  the  publicity  department 
wanted  to  have  portraits  made  of  her 
the  next  day. 

"You're  getting  a  good  break  for 
a  contract  player,"  Bunny  told  her. 
'"They  must  think  you're  pretty 
good." 

The  next  day  she  put  Danny's  ad- 
vice to  the  test.  The  bright  young 
man  from  the  East  was  determined  to 
change  her  name. 

"Monica  Mayo's  too  flowery,"  he 
told  her.  "We'll  call  you  Sally,  or 
Betty,  or  Janet." 

"My  name  is  Monica,"  she  re- 
torted, "and  I'll  stick  to  it." 

"But,  Miss  Mayo,  it's  hard  to  pro- 
nounce— people  aren't  sure  how  to 
say  it." 

"They  learned  to  pronounce  Greta, 
didn't  they?" 

She  won.  The  publicity  depart- 
ment was  under  her  heel.  She  wasn't 
summoned  to  shake  hands  with  visit- 
ing near-celebrities  and  pose  for  pic- 
tures with  them,  unless  she  wanted 
to,  after  that.  She  was  given  almost 
as  much  consideration  as  if  she  had 
already  arrived — and  she  had  not  yet 
had  a  picture  released. 

She  was  glad  when  they  needed 
her  on  the  set  again.  It  meant  work- 
ing till  all  hours.  Monica  could  never 
see  why  they  wasted  so  much  time 
during  the  day,  shooting  a  scene  and 
then  going  into  conferences  that 
lasted  for  ages,  and  then  shooting  it 
again  in  exactly  the  same  way.  The 
delay  meant  working  late  at  night. 
She  saw  almost  nothing  of  Danny. 
Bunny  tried  to  console  them  both,  but 
without   much   success. 

She  bought  a  cheap  little  car,  which 
Bunny  drove  for  her.  And  she  be- 
gan to  put  her  money  into  the  bank, 
after  she  had  made  the  house  in  the 
canyon  a  bit  more  livable.  She  was 
glad  to  get  home  to  it  now.  She 
wondered  how  she  could  ever  have 
thought  it  so  hopeless. 

"Well,  the  masterpiece  is  finished," 
she  announced  to  Bunny  one  evening, 
as  they  rattled  home.  "Of  course,  it 
may  never  he  released,  and  when  my 
option  comes  up  at  the  end  of  three 
months  T  may  be  thrown  out  on  my 
ear,  hut  I've  had  a  leading  part  in 
one  picture,  at  least." 

She  was  too  tired  to  eat  when  she 


Tke  MoVie  Racket 

got  home,  so  she  took  refuge  in  a 
hot  bath,  and  Bunny  stationed  her- 
self beside  the  constantly  ringing 
telephone.  Monica  tried  to  step  out 
of  the  tub  to  answer  it  the  first  time, 
but  Bunny  hustled  her  back  again. 

"Hey,  let  me  do  that,"  she  com- 
manded. "You  can't  be  talking  to 
just  any  one  now.  And  if  you  do 
answer  it  when  I'm  not  here,  don't 
admit  that  you're  you." 

"Oh,  Bunny,"  Monica  blurted  with 
a  sob,  "don't  start  treating  me  like 
that.  I  get  more  of  it  than  I  can 
stand  at  the  studio.  They  keep  say- 
ing 'Don't  do  this,'  and  'Remember 
you're  some  one  of  importance  now,' 
till  I  could  bite  'em." 

She  had  worked  herself  into  crying 
hysteria  before  Bunny  could  quiet 
her.  That  wise  young  woman  di- 
verted her  to  plans  for  the  shopping 
expedition,  which  had  not  yet  come 
off,  and  a  feeling  of  drowsy  content- 
ment was  stealing  over  her  when  the 
phone  rang  again. 

"You'd  better  give  me  the  mes- 
sage," Bunny  said  softly.  "She's 
dead  tired,  you  see;  her  nerves  are  a 
wreck.  Better  not  try  to  see  her  to- 
night." 

"Is  that  Danny?"  Monica's  voice 
was  frantic.  "Give  me  that  phone ! 
Oh,  Danny,  darling,  I've  been  long- 
ing to  see  you !  I've  been  so  terribly 
busy " 

She  talked  on  and  on  with  him, 
while  Bunny  draped  a  wrap  around 
her  to  keep  her  from  catching  cold, 
and  then  retreated  to  the  porch.  At 
last  Monica  joined  her. 

"We're  going  to  have  a  grand  time 
to-morrow,  celebrating,"  she  an- 
nounced. "Danny's  working  in  the 
morning,  but  he  says  all  he  has  to  do 
is  stand  outside  a  cell  in  the  studio 
and  yell,  'Lynch  him  !  Lynch  him  !'  at 
the  leading  man,  which  is  just  pure 
pleasure,  and  he's  perfect  in  the  part, 
because  they  did  long  shots  all  day  to- 
day out  on  the  Western  street.  He's 
going  to  come  by  here  about  four,  and 
we'll  go  down  to  the  beach  some- 
where near  Malibu,  and  roast  wienies 
over  a  bonfire.  Run  in  and  call  one 
of  the  boys  to  go  along." 

"Hope  I  never  get  as  sappy  over 
anybody  as  you  are  about  that  guy," 
grunted  Bunny,  departing  to  tele- 
phone. 

Monica  leaned  back  in  rapturous 
content  and  gazed  up  at  the  dark  sky. 
From  somewhere  above  came  the 
sound  of  music  and  laughter.  Turn- 
ing, she  could  see  a  brightly  lighted 
house,  high  on  the  crest  of  the  hill. 
Oh,  some  day  she  and  Danny  would 
have  a  house  like  that,  too,  and  give 
parties — not  rowdy  ones,  but  nice 
ones,  like  Bebe  Daniels'  or  Corinne 
Griffith's.  They  were  going  to  be  so 
happy ! 


Just  as  she  and  Bunny  were  leav- 
ing the  house  the  next  morning,  the 
phone   rang. 

"Don't  answer  it,"  Monica  sug- 
gested.    "It  sounds  ominous." 

But  Bunny  did,  coming  back  to  an- 
nounce that  the  studio  wanted  Monica 
to  report  some  time  during  the  after- 
noon, early. 

"They  said  they  wouldn't  keep  you 
more  than  a  few  minutes,"  she  said. 
"If  you  get  there  by  one  thirty  you 
may  escape  by  four." 

Monica  appeared  promptly  at  two, 
rebellious. 

"We  want  you  to  go  to  the  opening 
of  'Back-stage  Blues'  Friday  night," 
the  suave  young  assistant  of  the  stu- 
dio manager  told  her,  as  he  sorted 
out  the  papers  on  his  desk.  "In  a 
way,  that  will  be  your  public  debut, 
so  we  want  to  plan  it  so  that  you  will 
make  as  striking  an  appearance  as 
possible.  Now,  if  you  were  an  in- 
genue, we  would  insist  on  your  at- 
tending with  your  mother,  or  your 
aunt " 

"Even  if  you  had  to  hire  one  from 
the  Central  Casting  Bureau,"  Bunny 
cut  in,  as  he  paused. 

"But  since  your  first  role  is  rather 
a  sophisticated  one,"  he  went  on,  ig- 
noring the  suggestion,  "it  is  quite  all 
right  for  you  to  attend  with  a  party, 
of  friends,  so  long  as  they  are  care- 
fully selected" — with  a  significant 
glance  at  Bunny,  who  promptly  shiv- 
ered and  turned  up  her  collar. 

Monica  drew  closer  to  her.  She 
wished  she  dared  pick  up  the  inkwell 
and  hurl  it  at  his  unpleasant  little 
face. 

"Since  Crandallis  crowing  all  over 
town  that  he  discovered  you,  he  will 
probably  want  you  to  attend  a  dinner 
party  at  his  house  first.  Then  you 
can  go  on  to  the  picture  with  some 
suitable  young  man — Booth  Carlisle 
will  do." 

"I  loathe  him !"  Monica  sputtered. 
"Anyway,  I  haven't  been  invited  to 

go." 

"We'll  attend  to  that,"  the  young 
man  went  on.  "Now,  about  your 
clothes " 

"No,  she  hasn't  anything  suitable," 
Bunny  stepped  in  and  took  command. 
"And  you're  not  paying  her  enough 
to  put  up  a  front,  even  if  you  ever 
gave  her  time  to  go  shopping,  which 
you  don't." 

"The  wardrobe  department  has  al- 
ready been  notified  to  lend  you  some- 
thing to  wear.  Better  go  over  there 
now  and  try  it  on.  Then  go  to  the 
still  photographer.  I'll  have  Crandall 
and  Carlisle  there  to.  be  photographed 
with  you.  We'll  fix  up  something 
that  looks  like  a  theater  lobby  or  a 
crowd  in  the  background.  We'll  send 
these  pictures  to  the  papers  instead 
Continued  on  page  94 


Bitter  Lessons 


It  hurts  the  spankers  more  than  the  spankees,  but 
duty   is  duty 


:   Oakie.  above,  dares  a  cho- 
rine  in    "Hit   the    Deck"    to   hit 
him.  but  the  smile  shows  that  the 
girl  isn't  taking  the  dare. 


&>krSr& 


One  of  the  Si 
i ..  above,  ha 
take  a  young  man 

in    hand    and    chas- 

lim,   ri^ht   out 

on    the    studio    l"t, 

but    doubtless    it 

WSJ  all  on  account 
of    mistaken    iden- 
tity. 


"Mammy!"  yells 
c  Ovey,  left, 
when  afarguerita 
Padula,  in  "Hit  the 
Deck,"  heaves  the 
o  1  d  rolling  p  i  n 
with  greater  effect 
than  grace. 


"Caramba!"  hisses  Harry  Langdon,  above,  when  his 
Spanish  teacher.  Mildred  Yorba,  uses  the  ruler  to 
inspire  him  to  learn  the  hablo,  ho>>las,  habla 


Mary  Rrian,  ri^ht.  as  the  little  mother  of  the  flock 

of  children  in  "The  Marriage  P 

when  she  had  to  make  a  family  example  of   Philippe 

'    3CV. 


Continued  from  page  92 
of  taking  any  at  the  theater.     Can't 
take  a  chance  on  a  bad   flash   light 
until  you're  well  known." 

Monica  felt  as  though  a  steam 
roller  were  descending  on  her  and 
she  were  powerless  to  get  out  of  its 
way. 

She  felt  better  when  she  saw  the 
clouds  of  lace  and  tulle  that  had  been 
laid  out  for  her  inspection.  As  she 
slipped  into  a  slinky,  traily  dress  of 
ivory  satin,  she  caught  sight  of  some 
one  in  the  mirror. 

"Tubby!"  she  shouted.  "Tubby 
Sparks !"  But  the  girl  had  disap- 
peared down  the  hall.  "Go  get  her, 
Bunny,"  she  cried.  "That's  the  fitter 
I  used  to  have  lunch  with  when  I 
was  on  the  switchboard.  She  hasn't 
been  near  me  for  weeks." 

"I  didn't  know  you'd  want  to  see 
me,"  Tubby  explained,  when  Bunny 
dragged  her  in.  "A  lot  of  girls  with 
a  chance  like  yours  grow  awfully 
nearsighted." 

"She's  no  high-hat  girl!"  protested 
Bunny. 

"Well,"  Monica  exploded,  "if  I've 
grown  so  important  around  here,  I'll 
see  to  it  that  you're  fired  if  you  don't 
come  on  the  set  and  call  for  me  to 
lunch  with  you  at  least  twice  a  week. 
Now  tell  me  what  I  ought  to  wear, 
Tubby.    You  know  better  than  I  do." 

All  the  women  in  the  wardrobe  de- 
partment were  her  adoring  slaves  by 
the  time  Monica  left.  But  it  was 
nearly  three  o'clock,  and  she  could 
think  of  nothing  but  Danny  and  her 
anxiety  to  get  home  before  he  ar- 
rived there. 

"I'll  go  home  and  meet  him  and 
then  we'll  stop  by  here  for  you," 
Bunny  suggested.  "You'll  never  get 
through  before  five." 

Monica  dragged  herself  away  to 
meet  Crandall  and  Carlisle.  Carlisle 
fairly  smirked  when  he  saw  her. 
Monica  wondered  if  he  had  forgotten 
the  way  he  "shook"  her  when  he 
heard  that  she  wanted  to  get  into  pic- 
tures. 

Crandall  wanted  to  talk. 

"And  I  said  to  Travis,  'Remember, 
I'm  responsible  for  finding  Miss 
Mayo.  Go  ahead  and  cast  her  in 
Barlow's  picture,  if  you  think  his 
heavy-handed,  old-fashioned  direc- 
tion won't  ruin  her.  But  she's  got 
to  finish  in  time  to  start  with  me.'  " 

"In  what?"  Monica  demanded  ex- 
citedly. 

"In  a  marvelous  picture,  my  dear, 
the  best  thing  I've  done.  An  epic, 
that's  what  it  will  be,  an  epic!  And 
I  have  a  part  for  you  that — well,  just 
let  me  tell  you  the  story." 

She  was  wild  to  hear  what  he  had 
to  say,  but  she  longed  to  strangle 
him,  as  he  talked  on  and  on.  while 
the  precious  moments  ticked  away. 
That  story  would  be  changed  a  dozen 


The  Movie  Racket 

times  before  it  was  actually  shot,  she 
knew,  and  while  he  wanted  her  for 
one  of  the  big  roles  now,  by  to-mor- 
row he  might  change  his  mind.  Car- 
lisle, who  hoped  to  get  a  part  in  it 
himself,  yesed  Crandall  whenever  he 
stopped  for  breath,  while  the  photog- 
rapher grinned  sympathetically  at 
Monica. 

An  office  boy  from  the  publicity 
department  was  waiting  for  her  when 
she  was  free. 

"They  want  you  right  away — some- 
thing important,"  he  announced,  por- 
tentously. "Said  you  was  to  come 
right  along  with  me." 

On  leaden  feet  Monica  plodded 
along  beside  him  to  the  publicity  of- 
fice. There  she  alternately  pleaded 
and  raged  that  she  was  already  late 
for  an  important  engagement,  but  the 
young  man  in  charge  was  adamant. 
He  kept  her  in  the  office  while  he  sent 
a  boy  out  to  the  gate  to  tell  Bunny 
that  Monica  would  be  busy  all  eve- 
ning and  might  not  return  home  that 
night.  Monica  scrawled  a  note  to 
Danny,  but  in  the  rush  she  could 
think  of  nothing  to  say  that  would 
half  express  her  feelings. 

"Now,  this  is  the  situation,"  the 
young  man  began,  but  she  heard 
what  he  said  only  dimly.  Something 
about  a  newspaper  woman  who  was 
writing  up  the  home  life  of  promi- 
nent players,  and  how  the  publicity 
department  had  been  working  all 
day  on  her  to  get  her  to  include 
Monica  in  the  series. 

"What  sort  of  place  do  you  live 
in?"  he  snapped,  when  he  had  fin- 
ished. Monica  tried  to  tell  him,  but 
he  cut  her  short  after  a  word  or 
two. 

"Won't  do ;  won't  do  at  all.  How- 
ever, I  provided  for  just  such  an 
emergency.  I've  taken  a  suite  at  the 
Roosevelt.  Sent  a  girl  from  the  prop 
department  up  there  a  few  minutes 
ago  to  throw  some  things  around, 
and  make  it  look  as  though  you'd 
lived  there  for  a  long  time.  We  got 
some  fashion  sketches  from  the  ward- 
robe department  and  put  your  signa- 
ture on  them,  and  you'll  find  crayons 
and  paints  and  some  books  on  art 
lying  around. 

"You'll  find  a  negligee  and  mules 
laid  out  on  the  bed.  You're  to  wear 
them  while  you're  being  interviewed. 
This  woman  will  arrive  about  six 
thirty.  Order  dinner  sent  up  to  your 
room  and  tell  her  you  always  relax 
after  a  hard  day  in  the  studio.  Now, 
are  you  all  set?" 

Tears  of  rage  ran  down  Monica's 
face  as  she  departed.  Yet,  if  it  hadn't 
been  for  not  seeing  Danny,  she  would 
have  enjoyed  the  whole  proceeding, 
for  when  the  interviewer  arrived  she 
proved  to  be  Mrs.  Bowers,  the  news- 
paper woman  who  had  been  so  kind 


to  Monica  on  her  first  night  in  Holly- 
wood, at  Gay's  party. 

"So  the  publicity  department  got 
this  stage  all  set  for  you,  did  they?" 
Mrs.  Bowers  went  into  gales  of 
laughter  as  she  glanced  about.  "Well, 
I  shan't  expose  them.  But  tell  me 
something  about  yourself,  my  dear. 
We'll  decide  what  I'll  write  after- 
ward." 

Monica  broke  down  and  told  her 
the  truth — about  the  telephone  switch- 
board, about  the  way  Bunny  moth- 
ered her,  about  Danny. 

"It's  all  right  to  tell  me,"  Mrs. 
Bowers  assured  her.  "I  won't  print 
any  of  it,  until  you're  so  prominent 
that  it  will  help  rather  than  hinder 
you.  But  don't  tell  any  one  else — 
the  publicity  department  will  get 
down  on  you  if  you  do.  They  don't 
like  people  who  make  them  appear 
superfluous." 

The  instant  they  had  finished  din- 
ner Monica  scrambled  into  her  own 
clothes  and  Mrs.  Bowers  drove  her 
home. 

She  ran  madly  up  the  steps,  calling 
"Danny  !  I'm  here  !"  But  there  was 
no  one  waiting  for  her  but  Bunny. 

"I  tried  to  keep  Danny  here,"  she 
explained.  "But  he  was  like  a  wild 
man.  Jealous,  I  guess.  Said  if  you'd 
rather  hang  around  with  Booth  Car- 
lisle than  go  out  with  him,  he'd  clear 
out.  Of  course,  it's  hard  on  him, 
having  you  get  ahead  faster  than  he 
has.  He  lost  that  part  up  at  Su- 
perba,  and  he's  blue  as  your  hat. 
Says  he's  going  back  to  doubling  in 
Westerns.  Expects  to  leave  for  Utah 
to-morrow  morning." 

Without  a  word  Monica  rushed  to 
the  telephone  and  tried  to  reach  him. 
But  his  landlady  said  that  he  had 
packed  a  suit  case  and  left  an  hour 
before.  It  was  weeks  before  Monica 
saw  him  again. 

She  attended  the  opening  of  "Back- 
stage Blues,"  and  the  whole  evening 
was  a  blur  of  lights,  of  hasty  intro- 
ductions, of  people  rushing  up  to  say 
that  they'd  heard  she  was  the  latest 
wonder  of  Hollywood,  while  Crandall 
stood  by  and  beamed.  Monica  felt 
as  if  she  were  something  he  had  made 
up.  People  stared  at  her,  pushed 
against  her  as  she  entered  the  theater, 
and  again  as  she  left  it.  Booth  Car- 
lisle was  attentive,  at  first  only  when 
crowds  were  watching,  but  when  he 
drove  her  home  he  \v;as  as  devoted  as 
she  had  once  dreamed  that  he  might 
be.  And  she  longed  only  to  get  home 
and  see  if  there  was  any  message 
from  Danny. 

She  went  to  work  next  day  in  Bar- 
low's new  picture,  and  Crandall  vis- 
ited her  on  the  set  immediately. 

"Just  like  'em  to  doll  you  up  like 
this,"  he  roared,  pointing  to  her  trail- 
Continued   on   page   115 


05 


An  important  phrase  in  romance  and  gang 
warfare — but    what's    this? 


Jane  \V  i  n  t  o  n  ,  above, 
sneaks  quietly  up  with  a 
two-by-four  beam  and 
but  one  thought — to  show- 
Tyler  Brooke  that  it's 
dangerous  to  flirt  with 
Patricia  Caron. 


One    of    the    Sisters 

left,   has   designs   on 

peace    and    comfort 

Hog*  McHugh. 


Iff    old     friend. 

Ceorge    Bancroft,    right. 

■.«  a  gentleman. 

Francis    sees 

through  it. 


Just    be    nonchalant    when    your 
leading    lady    gets    funny, 
Alexander   Gray,  outer   left,  of 
Bern  ice  Claire's  antics. 


96 

Continued  from  page  73 
atoning  for  a  farrago  of  nonsense 
which  recalls  the  excesses  of  foreign 
pictures  a  decade  ago.  This  is  attrib- 
utable  to  the  authorship  of  a  South 
American,  who  presumably  wrote  for 
the  Latin  public.  Just  how  the  view- 
point of  this  public  differs,  is  clearly 
revealed  in  a  story  which  offers  as  its 
principal  character — I  won't  say  hero 
— a  gigolo  who  nourishes  on  money 
wheedled  from  his  women  admirers 
and  glories  in  it.  Befriending  a  girl 
who  is  about  to  commit  suicide,  he 
offers  marriage  with  the  suggestion 
that  he  will  insure  her  life  and,  after 
a  year,  she  can  then  kill  herself  and 
leave  him  rich.  He  submits  this  plan 
with  the  glibness  of  a  pseudo-philan- 
thropist conferring  a  boon,  and  the 
girl  accepts.  Then  love  comes  and 
upsets  everything,  even  causing  the 
gigolo  to  kill  a  man  who  whispers  of 
the  girl's  scandalous  "past."  He  is 
sent  to  prison,  but  miraculously  es- 
capes to  prevent  the  suicide  on  which 
the  girl  is  now  determined  in  order 
to  leave  him  the  necessary  funds  for 
his  legal  defense.  It  is,  as  you  see, 
quite  too  rich  a  dish  for  enjoyment. 
So  we  must  accept  it  for  the  enjoy- 
ment it  affords  Joseph  Schildkraut, 
whose  familiar  affectations  are  in- 
tensified in  the  "fattest"  part  he  has 
ever  had  for  their  display.  He  ex- 
hibits them  with  a  zest  that  embar- 
rasses when  it  doesn't  pain.  On  the 
other  hand,  Myrna  Loy  makes  the 
girl  appealing,  if  not  real,  and  her 
voice  is  gently  beguiling.  If  you  like 
curious  pictures  this  is  one  to  see. 

A  Dancing  Daughter  Out  West. 
"Montana  Moon"  is  horse  opera 
in  more  than  name.  A  story  such  as 
every  Western  star  has  played  at  one 
time  or  another  is  supplied  with  a 
cowboy  chorus,  jazz  parties,  modern- 
istic settings  and  a  spontaneous, 
likable  performance  by  Joan  Craw- 
ford. You  must  decide  if  the  latter 
advantage  is  sufficient  to  offset  the 
trite,  artificial  whole.  It's  all  about 
a  high-minded  plainsman  who  mar- 
ries, or  rather  is  married  by,  a  danc- 
ing daughter  and  their  troubles  in  set- 
tling on  a  single  standard  of  conduct. 
If  you  look  at  it  closely  it's  prepos- 
terous, but  it's  the  sort  of  entertain- 
ment Miss  Crawford's  fans  expect 
from  her,  and  love.  But  the  charac- 
ter and  actions  of  the  heroine  are 
baffling  to  me.  I  do  not  understand 
the  brazenness  of  a  girl  who  alights 
from  a  train  at  midnight  at  a  way 
station  and  strolls  up  a  railroad  track 
in  the  darkness.  Nor  do  I  under- 
stand her  decision  to  spend  the  night 
in  a  clearing  with  a  strange  male. 
Still  less  do  I  comprehend  the  terror 
of  such  a  fearless  girl  at  sight  of  a 
toad.     As  for  the  general  suggestive- 


Tke  Screen  In  ReViev? 

ness  of  this  episode — well,  I  don't 
understand  the  censors.  One  feels 
that  the  whole  thing  is  staged  for  the 
purpose  of  stimulating  barber-shop 
conversation  on  Main  Street  when 
The  Police  Gazette  is  worn  thread- 
bare. Certainly  it  will  not  do  any- 
thing toward  establishing  Miss  Craw- 
ford as  the  artist  she  no  doubt  is 
desirous  of  becoming,  though  it  as- 
suredly will  aid  her  popularity  among 
the  less  exacting.  John  Mack  Brown 
is  the  cowboy.  A  bright  spot  in  the 
picture  is  Cliff  Edwards  as  Froggy, 
a  cowboy  of  quite  another  sort,  and 
there  are  also  Dorothy  Sebastian,  Ri- 
cardo  Cortez,  and  Benny  Rubin. 

Mr.   Haines  Sacrifices   Himself. 

Combining  his  familiar  wise-crack- 
ing with  serious  acting  is  what  Wil- 
liam Haines  does  in  "The  Girl  Said 
No."  It  results  in  a  little  confusion 
as  to  how  to  take  him,  and  a  film  that 
is  much  too  long.  But  it  has  mo- 
ments of  real  merit.  On  the  whole 
it  is  a  better  picture  than  Billy  has 
had  in  a  long  time.  Incidentally,  it 
demonstrates  anew  that  he  is  a  much 
more  adroit  player  than  he  is  given 
credit  for  being.  There  are  times 
when  one  views  his  antics  with  shud- 
dering apprehension  lest  the  next  one 
exceed  decency  as  the  preceding  one 
has  violated  propriety,  but  this  makes 
for  suspense,  doesn't  it?  It  seems  to 
me  that  we  usually  know  only  too 
well  what  our  stars  will  do.  If  there 
is  one  who  keeps  us  in  doubt,  he 
is  doing  more  than  the  others. 

There  are  no  departures  in  the  cur- 
rent plot,  except  for  an  episode 
played  by  Marie  Dressier  and  Mr. 
Haines  with  such  brilliant  results, 
that  it  immediately  becomes  the  thing 
in  the  picture  that  one  remembers 
longest.  Miss  Dressier  is  a  sedate 
millionairess  who  is  persuaded  by 
Mr.  Haines  to  invest  heavily  in  bonds 
while  intoxicated,  the  stimulant  being 
craftily  administered  by  Mr.  Haines 
to  the  unsuspecting  lady.  It  is  only 
fair  to  note  that  Mr.  Haines,  like  a 
gentleman,  subordinates  himself  to 
Miss  Dressier,  whose  scene  it  really  is. 

Of  course  there's  a  girl  most  pleas- 
antly played  by  Leila  Hyams,  and  a 
villain  impersonated  by  Francis  X. 
Bushman,  Jr.  Polly  Moran  is  also 
briefly,  but  gratefully  in  evidence, 
and  there's  a  funny  scene  in  which 
Harry  Armita,  as  a  waiter,  is  per- 
suaded to  meow  at  a  patron  who  is 
supposed  to  think  himself  a  cat.  Mr. 
Armita  makes  a  comic  gem  of  this. 

Fun  in  a  Studio. 

For  the  most  part,  Buster  Keaton's 

"Free  and  Easy"  is  low  comedy  at  its 

best  and  among  the  more  superior  of 

his    many    pictures.      Its    excessive 


length  causes  one  to  realize  how  much 
better  is  the  first  part  of  the  film  than 
the  last.  Even  so,  the  average  of 
amusing  moments  is  much  higher 
than  in  most  comedies  and  there  is 
one  sequence  which  stands  out  with 
exceptional  emphasis.  It  concerns 
the  efforts  of  Mr.  Keaton  to  take  di- 
rection from  Fred  Niblo  on  a  movie 
set.  Romantically  costumed  as  a 
courier,  he  is  supposed  to  dash  in  and 
say  "Woe  is  me,  the  queen  has 
swooned !"  He  never  does  succeed 
in  uttering  the  line  intelligently,  and 
the  director  becomes  so  maddened  by 
his  dumbness  that  he  orders  him  from 
the  set  and  threatens  to  kill  him  on 
sight.  You  see,  it's  one  of  those 
stories  that  happen  in  a  studio,  with 
Anita  Page  as  the  winner  of  Gopher 
City's  beauty  contest  and  Mr.  Keaton 
as  Elmer,  her  manager,  not  to  men- 
tion bulky  Trixie  Friganza  as  her 
domineering  mother.  Though  the 
idea  is  not  new,  the  treatment  is ;  and 
in  the  course  of  the  entertainment 
one  sees  such  notables  as  Robert 
Montgomery,  William  Haines,  Dor- 
othy Sebastian,  Karl  Dane,  Lionel 
Barrymore,  John  Miljan,  and  Gwen 
Lee. 

Muddy  Waters. 
A  wealth  of  technical  skill  has  been 
lavished  on  "Hell  Harbor,"  but  the 
quality  of  interest  has  been  left  out. 
Here  is  a  picture  that  is  finely  acted, 
is  photographed  superbly  and  is  di- 
rected with  brilliant  authority,  but 
the  proceedings  never  rise  higher  than 
ordinary  routine.  This  verdict  can 
only  be  blamed  on  the  story.  It  con- 
cerns a  "child  of  nature,"  a  girl  such 
as  no  one  I  venture  to  say  has  ever 
met,  though  she  is  a  stock  figure  in 
the  movies.  She  lives  on  the  shores 
of  the  Caribbean  and  her  associates 
are  the  dregs  of  humanity,  but  she 
manages  to  be  clean  and  cute  and 
cavorting  until  about  to  be  the  bar- 
tered bride  of  an  unkempt  reprobate. 
Already  a  handsome  American  has 
appeared  in  the  harbor  to  buy  pearls 
and  eventually  he  becomes  the  girl's 
savior  in,  as  usual,  the  nick  of  time. 
Lupe  Velez  plays  the  girl  with  be- 
coming abandon  and  box-office  na- 
ivete, John  Holland  being  the  object 
of  her  heavy  love-making.  Strongly 
realistic  portrayals  are  contributed  by 
Jean  Hersholt  and  Gibson  Gowland, 
while  Al  St.  John  and  Paul  E.  Burns 
are  funny  sailors. 

Now  It  Can  Be  Told. 

"Captain  of  the  Guard"  is  bom- 
bastic and  dull,  its  pretentiousness 
throwing  these  demerits  into  sharper 
relief.  With  the  French  Revolution 
as  its  background,  the  story  is  written 
around  the  composition  of  "La  Mar- 
Continued  on  page  103 


Luck  o'  the  IrisK 

It  is  twofold;  first,  in  being  born  on  '"the  ould  sod,"  and, 

second,    in    achieving    a    place    in    the    movies,    as    these 

players  have  done. 


Walter      B  y  ron,      left, 

-  h  hailed  as  a  l'.rit- 
i>h  star,  was  born  in 
Dublin,    with     the 

and  culture  that 
make  him  an  asset  to  the 
American    screen    t 

Tom  Dugan,  right)  whose 

good-natured  grin  and 
Irish  accent  always  con- 
tribute comedy  to  any 
film  in  which  he  appears 
is  also  a   Duhliner. 


Maureen  O'Sullivan,  left,  the  charm- 
ing colleen  whose  debut  in  "S< 
My    Heart''   caused   a    flutter,   i-   the 
true  spirit  of   that  country. 

Tommy  Clifford,  lower  left,  also  of 
"Song  o'  My  Heart,"  shows  fan- 
what  a  real   boy  is  like  in  the  old 

country. 

LunwJen    Hare,   below,   recently   re 

cruited   from  a  distinguished 

on  the  staye,'  is  a  typical  Irish  squire. 


Continued  from  page  61 
Bartlett  didn't  realize  his  dream  of 
becoming  a  star  in  his  first  effort, 
lie  has  only  a  very  small  part  in 
Miss  White's  him  "Man  Crazy,"  hut 
the  luck  may  he  better  next  one. 

Miss  Eilers  and  Gibson  have  heen 
reported  engaged  for  some  months. 
They  have  also  frequently  denied 
their  intention  to  wed,  an  old-fash- 
ioned   Hollywood  custom. 

An  Amazing  Anomaly. 
The  mystery  of  the  season :  Why 
was  "Strictly  Dishonorable,"  the 
stage  play,  purchased  by  Universal 
with  John  Boles  in  mind  for  the  lead- 
ing role?  It  must  be  on  the  basis 
that  it  takes  a  singer  to  play  a  singer. 
Or  maybe  this  play  is  to  be  made  into 
a  revue. 

Amos   'n'   Andy. 

Be  a  black-face  comedian  and  get 
a  million  dollars !  The  Two  Black 
Crows  surely  started  things  when 
they  starred  on  the  screen.  Now 
Amos  'n'  Andv,  radio  favorites,  have 
been  signed  for  $1,000,000  by  RKO. 
They  have  surpassed  even.  Moran  and 
Mack,  if  this  figure  is  to  be  believed. 
Four  hundred  thousand  dollars  was 
reported  as  the  stipend  for  the  vaude- 
ville pair. 

The  real  names  of  Amos  'n'  Andy 
are,  respectively,  Freeman  Gosden 
and  Charles  Correll.  They  will  con- 
tinue to  broadcast  while  appearing  in 
the  films. 

Decries   Tearful    Maters. 

Louise  Dresser  is  in  revolt.  She 
doesn't  want  to  play  crying  mothers 
any  more.  Louise  doesn't  feel  that 
she  does  justice  either  to  feminine 
parents  or  to  herself*  by  weeping 
through  every  picture,  and  she  feels 
that  the  more  recent  ones  have  de- 
manded of  too  copious  tears  of  her. 

"I've  known  a  lot  of  mothers,  and 
I  knew  them  to  suffer  all  sorts  of 
unhappiness,  but  I  never  observed 
them  spending  their  time  crying  about 
their  misfortunes,"  Louise  told  us. 
"I  don't  believe  in  playing  any  sort 
of  character  that  is  false,  and  I  think 
that  weeping  mothers  are  false.  I 
liked  to  play  such  characters  as 
Mother  O'Day  in  'The  City  That 
Never  Sleeps,'  and  The  Goose 
Woman,  and  the  mother  in  'Mother 
Knows   Rest,'  but  some  of  the  other 


Hollywood  High  Lights 

roles    that    I    have    undertaken    have 
only  caused  me  heartbreak." 

Louise  won  her  fame  by  her  sing- 
ing when  she  was  on  the  stage,  but 
has  yet  to  be  heard  using  this  most 
obvious  talent  in  pictures. 

Specter  is   Laid. 

Thank  goodness  the  hullabaloo 
over  the  Valentino  ghost  is  ended. 
Everybody  in  Hollywood  spoke  to  us 
in  whispers  for  months  about  the 
existence  of  the  shade,  and  now  it 
turns  out  there  was  nothing  to  it. 

Harry  Carey,  who  summoned  up 
courage  to  occupy  the  Valentino  resi- 
dence, is  the  one  who  demonstrated 
that  the  phantom  was  more  or  less 
imaginary,  or  rather  that  it  was  the 
invention  of  a  caretaker  who  once 
held  spiritualistic  seances  at  the 
house. 

The  caretaker,  it  seems,  had  rigged 
up  electrical  contrivances  to  help 
simulate  the  manifestation  of  a  de- 
parted spirit.  These  contrivances 
produced  ghostly  lights,  and  also 
aided  the  materialization  of  the  spec- 
ter of  the  departed  star  from  a 
spiritualist's  cabinet. 

A  window  loose  in  its  fittings,  the 
presence  of  a  number  of  bats  flop- 
ping about  in  the  basement  of  the 
house,  and  the  noise  of  the  wind 
blowing  through  metal  weather- 
boards all  aided  in  increasing  the  be- 
lief that  the  house  was  haunted. 
These  odd  sounds  were  continually 
heard  at  night. 

Carey  is  now  comfortable  in  the 
home,  except  for  one  thing.  He  con- 
tends that  it  draws  too  many  sight- 
seers and  souvenir  hunters.  "For 
that  reason  I'm  going  back  later  on 
to  a  ranch  home,"  he  said. 

The  superstitious  shake  their  heads, 
however,  and  say  that  Carey's  deci- 
sion is  not  due  to  the  tourists.  A 
ghost  still  lurks  there,  they  insist. 

Renee  Recovering. 

Renee  Adoree  is  on  the  mend.  She 
will  probably  return  to  work  within 
the  next  month  or  so. 

Renee  has  had  to  sojourn  at  a  sani- 
tarium for  a  bronchial  ailment  that 
threatened  to  be  rather  serious.  She 
has  been  so  responsive  to  treatment, 
though,  that  her  recovery  is  now  im- 
minent. 


New   Talkie    Twists. 

Mary  Pickford  will  star  in  "Se- 
crets"; Joan  Bennett,  in  "Smilin' 
Through";  and  Norma  Talmadge  is 
doing  "Du  Barry." 

Everything  that  was  true  in  the 
silents  is  altered  now.  "Secrets"  was 
a  Norma  Talmadge  picture,  as  was 
"Smilin'  Through,"  whereas  "Du 
Barry,"  called  now  "Flame  of  the 
Flesh,"  was  associated  with  Pola 
Negri.  It's  puzzling,  to  say  the  least, 
how  stars  find  it  possible  to  do  stories 
that  have  so  well  suited  other  stars. 

Miss  Pickford  will  impersonate  an 
elderly  woman  in  the  prologue  and 
epilogue  of  her  film.  The  story  takes 
the  form  of  a  cut-back  on  the  hero- 
ine's married  life,  just  as  it  did  in 
Norma  Talmadge's  production. 

Mary  has  abandoned  her  intention 
of  appearing  in  "Peg  o'  My  Heart," 
on  the  ground  that  the  plot  is  too  old- 
fashioned. 

Doug's   After   Rhythm. 

Douglas  Fairbanks  is  now  after 
"rhythm"  for  his  next  picture.  He  is 
bringing  over  Professor  S.  N.  Eisen- 
stein — not  Einstein — from  Europe  to 
get  "rhythm."  Eisenstein  directed 
"Potemkin"  and  "Ten  Days  That 
Shook  the  World,"  in  Russia. 

Fairbanks  has  gone  to  England  for 
the  open  golf  tournament  there.  He 
is  alone  on  this  trip,  and  the  separa- 
tion from  Mary  is  very  unusual. 
They  have  seldom,  if  ever,  been 
parted  this  long  since  their  marriage. 
Mary  was  busy  on  her  picture  at  the 
time,  and  couldn't  accompany  him. 

Doug  announced  all  his  plans  at  a 
tea,  and  incidentally  took  occasion  to 
state  that  he  was,  contrary  to  rumors, 
not  retiring  from  the  screen. 

Tom  Coming  Home. 

The  lure  of  Hollywood  remains  ir- 
resistible. Tom  Mix  is  succumbing 
to  it  again. 

Tom  still  has  a'  contract  with  a 
circus,  but  when  that  expires  a  few 
months  from  now  he  probably  will 
appear  in  a  new  series  of  Westerns. 

We  miss  Tom,  and  it  will  be  good 
to  have  him  back.  Hollywood  needs 
some  of  his  flamboyancy  to  relieve 
the  present  monotony  of  extreme  pro- 
fessional seriousness  from  which  the 
colony  is  unquestionably  suffering. 


I  wonder  at  the  sparkle 
Of  Norma  Shearer's  smile, 

And  I  am  in  a  perfect  daze 
With  lovely  Swanson's  style. 

White  Lillian  Gish  is  so  demure 
With  downcast  eyes  and  sashes, 

Bui  what  I'd  truly  like  to  know 
How  long  are  Corinne's  lashes? 


WONDERLAND 


John  Gilbert  takes  my  breath  away 

Whenever  he  makes  love. 
I  understand  why  men  leave  home 

To  look  at  Billie  Dove. 

Those  lovely  smiles  and  dimples 

Intrigue  me — I'll  admit. 
But  the  thing  that  leaves  me  speechless 

Is  Greta  Garbo's  "It !" 

Jean  Douglas. 


A  Royal  Flusk 

With  Kays  the  suit,  and  it's  up  to  you  to  figure  out   tlu 
ranking  card  according  to  your  taste. 


99 


right,   has 

earned  the  title  of  queen 

of  hearts  in  several  pic- 

:  upsetting 

the  romantic  apple  carts 

oi  the  leading  ladies. 


4 


Kay  Johnson,  above,  is  another 
good  bet  when  a  smartly 
groomed  heroine  is  required  to 
portray  the  emotions  of  a  civi- 
lized adult  by  means  of  a  voice 
that  expresses  every  shade  of 
feeling. 


Straight    from    the 

"Follies"    came     Kay 

lish,  left,  to  adorn 

Holljra I.  where  she 

already    has    lent   her 

"Hit    the 

."     "Rio     Rita," 

"The    Cuckoos,"    and 

"Dixiana." 


Kay     Hammond, 

left,  came  from  the 

to    mak 

t  in 
"Hi  r  Pri  Iti  Af- 
fair." aiv' 

the  crippled  wife  in 
"The    Tr 


Rlond     and 

Kay  McCoy,  ri^ht. 

■irly 
grin    that    will    ap- 
peal   to     fan- 
may    not    like     the 
sophistication 
Francis 


you  need  one  for  the  sake  of  the  im- 
pression it  makes.  There  is  no  dan- 
ger of  its  doing  any  real  harm. 


100  ac        What  Buddy  Rogers'  Name  Tells 

Continued  lrom  page  45 

in !      If   you  had   not   so  much  good     tween  nine  and  twelve  you  had  a  lot  will  be  married  within  two  years,  and 

judgment,    1    would    say,    "Don't    be     of  trouble  around  you,  and  when  you  will  have,  at  least  for  a  time,  sorae- 

too    stubborn,"    but    that    is    not    the    were  fourteen  or  so  you  had  an  illness  thing    like    the    love   you   dream    of. 

advice  for  you.                                             of  the  throat  or  chest,  but  it  did  not  Pure,  divine,  ideal  love  does  not  long 

Every  time  you  step  down,  it  will     prove  very  serious.     At  the  same  age  exist    by    itself    in    this    world,    dear 

be  into  a  hole,  and  every  time  you  say    you  became  very  positively  interested  Buddy,    unmixed    with    cruder    ele- 

yes  to  something  not  of  your  choos-     in  music,  and  if  your  school  had  a  ments,  for  we  are  all  made  of  earth 

ing,  vou  will  be  saying  no  to  all  that     band  you  were  right   there   in  it  as  and  water,  as  well  as  of  fire  and  air. 

you  can  and  want  to  be.     You  have  a     soon  as  possible.  The  vibrations  you  carry  from  the 

lively  temper,  but  such  a  sweet  nature        At  fifteen  you  already  had  a  school-  cradle  to  the  grave  will  always  draw 

that    people   are   surprised   when   the    girl  sweetheart,  but  you  never  imag-  women  to  you,  to  cause  you  trouble, 

temper    now    and    then    breaks    out.     ined    yourself    serious    about    a    girl  emotional    and    financial,    as   well   as 

Never  mind  !     The  vibrations  of  the     until  you  were  eighteen.     Then,  oh,  happiness,  nor  will  the  Eight  of  your 

letters  of  vour  name,  one  by  one,  are     my!    Serious  is  no  word  for  it!    She  birth   path   make   this   any   easier  to 

so   soft   that  you  need   all   the   steel     was    very,    very    lively,    of    medium  bear.     You  will  certainly  be  married 

you  can  put  into  them.     A  temper  is     height,  and  when  she  got  excited  her  twice,  the  second  time  at  about  forty- 

not  in  itself  a  sign  of  strength,  but     eyes  had  little  dancing  green  lights  in  five.      Be    otherwise    as    immune   to 

them.  But  you  parted  as  friends,  and  women  as  true  love  and  great  deter- 
now  you  know  that  both  your  feeling  mination  and  understanding  of  your- 
and  hers  were  nothing  but  the  fires  self  can  make  you. 
Financially  you  will  be  very  sue-  of  youth  being  lit  in  young  hearts  At  forty  you  will  be  at  the  height 
cessful,  but  oh,  what  a  deep  hole  you  before  the  coming  of  love  itself.  of  your  business  success,  no  matter 
will  have  to  dig  yourself  out  of,  with  You  were  earning  your  own  liv-  what  line  of  work  you  may  be  in, 
your  bare  hands,  when  you  are  about  ing  by  the  time  you  were  twenty-one,  but  from  forty-five  to  fifty-five  you 
fifty!  and  your  life  has  been  immensely  ac-  will  have  to  put  in  the  hardest  years 
You  will  always  do  well  if  you  tive  ever  since.  Just  within  the  past  of  your  life.  Even  so,  you  will  rise 
put  your  money  into  real  estate,  but  year  and  a  half,  however,  something  again  to  the  heights  where  you  be- 
never  put  a  nickel  into  anybody's  has  begun  to  quiet  down  within  you,  long.  The  totals  of  your  numbers 
business  but  your  own,  and  even  then  in  the  depth  of  your  spirit,  not  in  will  overcome  any  temporary  nega- 
keep  a  sharp  eye  on  every  one  con-  your  outer  life.  You  still  prance  tion,  and  you  will  use  the  stones  over 
cerned.  Never,  under  any  circum-  around  as  gayly  as  ever,  but  you  which  you  have  stumbled  to  build 
stances,  allow  your  name  to  be  used  have  begun  to  think  of  life  in  capital  steps  to  higher  things, 
as  security,  even  by  your  best  friend,  letters,  as  a  man,  not  as  a  child,  and  All  of  life  is  before  you,  dear 
If  you  do,  something  crooked  will  life  with  you  will  always  be  tied  up,  Buddy,  and  what  it  offers  will  make 
appear  in  the  deal,  perhaps  without     for  good  or  ill,  with  love.  of    you    a    wonderful    man.      When 

You  are  still  feeling  your  way,  and  you  get   downhearted,    ask   yourself, 

you    discern    a    little    the    voice    that  "What  do  I  realize  now  that  is  worth 

whispers    within    you    and    that    will  knowing?"     You  may  have  known  it 

guide  your  steps  through  any  shadow  a  long  time  and  never  understood  it 

if  you  will  listen  to  it — the  voice  of  before.     When  you  do  realize  it,  you 

old,  you  were  the  kind  of  little  boy     intuition.  will  never  stumble  over  that  obstacle 

every    woman,    and    every    man,    for         You  need  this  intuition  more  than  again. 

that  matter,  adores— winsome,  happy,     you   ever   did  before,   to   make   sure  Be  true  to  yourself,  keep  your  exu- 

warm-hearted.    Your  home  was  more     what  girl  you  really  love.    Right  now  berant  vitality,  your  keen  intelligence, 

comfortable,  through  increase  of  in-     you   are  undecided  between   at   least  your  sense  of  power,  and  all  will  be 

come    from   some   source,   when   you     two.     It  is  vital  for  you  to  choose  the  well.      Above    everything    else,    keep 

became  five  or  six,  than  before.     Be-     right  one  now,  and  you  will.     You  your  vision  of  love  and  beauty  pure. 


the    knowledge    of    the    person    who 
asked    for  your  name,   and  you  will 
be  the  one  to  pay  in  money  and  per- 
haps also  in  honor  and  self-respect. 
When  you  were  three  or  four  years 


„    .     , ,  The  MvsterV  of  Your  Name 

Continued  from  page  44  ' 

do  so,  and  that  is  the  birth  path.    The  overcome  by  strength,  but  will  put  an  who  has  a  small  income  from  a  vege- 

other  will  only  seem  to  do  so,  and  end  to  life  entirely,  if  the  bearer  has  table  garden  and  a  definite  sum  from 

that  is  outer  circumstance.  the  birth  path  of  destruction.     If  you  his  children,   feels  that  he  has  done 

I  have  not  mentioned  the  date  of  do  know  a  John   Smith,   see  if   you  well.     No  greater  satisfaction  is  felt 

birth  and  the  number  of  the  birth  path  cannot  discover  what  main  tendency  by  the  college  professor  who  has  a 

that  is  calculated  from  it  in  this  read-  has  affected  his  life,  bending  it,   for  paid-up  annuity   for  the  rest  of  his 

ing  of   John    Smith's   name,  because  good  or  evil,  in  one  direction.  life,  the  price  of   an  annual  trip  to 

there  are  nine  different  main  paths,  You   will    think   that    the   kind    of 

one  of  which  he  is  sure  to  have,  and  home  a  child  has,  the  wealth  or  pov- 

each  one  will  change  the  detail,  but  not  erty  he  is  born  to,  his  native  intelli- 
gence, the  type  of  existence  that  is 
his,  will  make  an  enormous  differ- 
ence  in   reading  his  name.     This   is 

isfaction,  of  love,  of  destruction,  of  absolutely  untrue.     If  you  read  over  than  feel  that  he  has  earned  the  prize 

sensitiveness,     and     so     forth,     will  the    preceding   paragraphs,    you    will  he   fought   for.     Each  man   is   satis- 

strengthen    the   letters   that   they   re-  find  nothing  that  does  not  apply  to  fied.  happy,  according  .to  his  degree. 

semble,   and   weaken   the   letters  that  any  man  in  any  walk  of  life.    Every-  Least    of    all    can   the   life   of   the 

they    oppose,    since    this    birth    path  thing  is  comparative.  spirit   be    measured   by   the   external 

counts  for  fifty  per  cent  in  the  read-  The  laborer  who  at  sixty  succeeds  world  that  it  lives  in.     The  man  who 

ing  of  a  name.     Severe  illness  can  be  in  paying   for  a  little  bungalow,  and  Continued  on  page  107 


the  tendency,  of  the  vibrations  of  the 
separate  letters.  You  can  see  for  your- 
self how  the  paths  of  power,  of  sat- 


Europe,  and  a  charming  home  near 
the  campus.  Even  the  bank  presi- 
dent, owning  stock  in  the  city's  big- 
gest corporation,  with  a  country  home 
and  a  city  home,  and  membership  in 
half  a  dozen  clubs,  can  do  no  more 


mi 


*TTte  Lost  Chord 


The  stars  are  searching  for  the  opening  bats 

of  that  old  song  which  begins.  "Seated   one 

day   at    the   organ." 


Bern  ice  Claire,  above,  the  musical- 
comedy  actress,  doesn't  take  the  open- 
ing bar-  of  Arthur  Sullivan's  famous 
too  seriouslyf  because  she  smil- 
ingly says  they're  right  at  her  fi 
tips. 

Victor  Schertzinger,  left,  the  com- 
poser-director, takes  hi-  music  seri- 
ously,  the  organ  in  his  home  being 
only  one  of  the  instruments  with 
which   bi 

Kay  Johnson,  lower  left,  is  proud  of 
the  old-fashioned  organ  in  her  Bev- 
erly  Hills  home,   because   it  qualifies 

as  an   American   antique. 

Harold  Lloyd,  below,  hasn't  yet  had 
time  to  discover  whether  that  chord 
is  lost  or  not,  as  hi-  home  i-  so  new 
he  hasn't  had  time  to  try  out  its  many 
novelties   and    surprise 


IITJ 


Information,  Please 


F# 


A  department  where  questions  are  answered,  advice  is  given, 

and    many    interesting    phases    of    motion-picture 

making  and  pertinent  side  lights  on  the  lives  and 

interests   of   motion-picture  players  are 

discussed. 


>^' 


<as«s» 


B>>  The  Picture  Oracle 

y. 


y 


52V9 


e*fi«P 


vis 


:*$ 


CANDIDA  CANDY  TWINS.— As  to 
whether  Joan  Crawford  is  really  as 
sweet  off  screen  as  on,  ask  Doug,  Jr.  He 
says  yes.  Her  hair  was  red,  but  she  let 
that  dye  out,  and  now  it's  brown  again. 
She  was  born  in  San  Antonio,  Texas, 
March  23,  1906.  I  could  go  on  and  on  for 
pages  listing  her  films.  Ramon  Novarro 
was  born  in  Durango,  Mexico,  February  6, 
1899.  He  has  dark  hair  and  eyes  and 
skin  to  match — I  mean  they  go  together. 
He  doesn't  go  out  with  any  actresses,  but 
Lillian  Gish  is  his  ideal.  I  don't  answer 
questions  about  religion  usually,  but  Ra- 
mon is  a  Catholic.  And  Buddy  Rogers' 
playing  in  "Abie's  Irish  Rose"  doesn't 
make  him  Jewish.  Bert  Wheeler  played 
Chick  Bean,  and  Robert  Woolsey  played 
Lovett,  the  comedians  in  "Rio  Rita."  Cer- 
tainly Richard  Barthelmess  lives  with  his 
wife — are  you  trying  to  break  up  fam- 
ilies? Mary  Hay,  Jr.,  spends  part  of  the 
time  with  her  father  and  part  with  her 
mother.  Dorothy  Sebastian  is  playing  in 
"Our  Blushing  Brides" ;  she's  still  single. 
It's  hard  to  keep  exact  addresses  at  the 
end  of  this  department,  because  these  free- 
lance players  flit  about  from  studio  to 
studio.  By  the  time  the  magazine  comes 
out  the  bird  has  flown. 

Diana  Whoops. — What,  haven't  you  got 
rid  of  that  cough  yet?  Madge  Bellamy 
was  born  in  Hillsboro,  Texas,  June  30, 
1903.  Eleanor  Boardman  opened  her  eyes 
on  Philadelphia,  August  19,  1899.  Mar- 
celine  Day  preceded  Alice  into  Colorado 
Springs,  April  24,  1906.  Alice  doesn't  say 
when.  Irene  Bordoni  followed  Napoleon 
into  Corsica — but  at  quite  a  distaince. 

Miss  Inquisitive. — Call  me  Mr.  No- 
name  if  ymi  like:  the  most  famous  man  in 
the  world  is  that  chap  Anonymous  who  writes 
poetry.  Conrad  Nagel  was  born  in  Keo- 
kuk, 'Iowa.  March  16,  1897.  He's  a  blue- 
eyed  blond,  six  feet  tall,  and  weighs  160. 
He's  been  married  for  years  to  Ruth 
Helms  and  they  have  a  daughter,  Ruth, 
who  is  about  9.     Picture  Play  published 

an  interview  with  Conrad  in  the  issue 
for  November,  1928.  His  new  film  is 
"The  Divorcee."    Davey  Lee  was  born  in 

Hollywood,     January    5,     1925 — brother    of 

Frankie  Lee  who  used  to  play  child  roles. 

v  was  discovered  by  Al  Jolson,  and 

played  his  firM  role  in  "The  Singing  Fool." 
He  doesn't  rive  a  home  address;  write 
him  at  the  Warner  studio.  Davey  has 
dark    hair    and    dark-blue    eyes  :    as    be    is 


growing,  I  can't  keep  a  record  of  his 
height  or  weight.  He  is  not  making  a 
film  at  present,  but  has  been  playing  in 
vaudeville.  As  to  whether  Al  Jolson 
wanted  to  adopt  him,  I  suspect  that  was 
the  publicity  department's  idea.  Davey's  fan 
club  has  headquarters  with  Miss  Florence 
Freeman,  5061  Kenmore  Avenue,  Chicago. 
Al  Jolson's  new  film  is  "Mammy."  Al  is 
44  years  old,  brunet,  five  feet  eight  inches 
tall.  Ruby  Keeler  is  his  third  wife.  Ma- 
rian Nixon  was  born  in  Superior,  Wiscon- 
sin, October  20,  1904.  She  was  married 
last  August  to  Edward  Hillman,  Jr.,  and 
was   once    Mrs.   Joe   Benjamin. 

Ruth  White. — I  don't  like  to  keep  any 
one  "anxiously  waiting."  Ann  Penning- 
ton was  born  in  Philadelphia,  December 
23,   1896.     I  think  that  is  her  real  name. 

Catherine  Hanrahan. — The  editor, 
not  I,  makes  up  the  photo  pages,  and  he 
has  quite  a  hard  time  pleasing  everybody. 
I'll  tell  him  you  want  Lon  Chaney,  H.  B. 
Warner,  and  so  on.  Sally  O'Neil's  big 
brother  in  "The  Callahans  and  Alurphys" 
was  played  by  Eddie  Gribbon.  Janet  Gay- 
nor  was  the  heroine  in  "The  Midnight 
Kiss."  In  "The  Leopard  Lady,"  the  old 
man  you  refer  to  was  James  Bradbury, 
Sr.  Sir  Timothy,  in  "Smiling  Irish  Eyes," 
was  played  by  Robert  Emmett  O'Connor. 
In  "The  Singing  Fool,"  Arthur  Housman 
played  BJackie  Joe.  Cyril  Chadwick  played 
Mr.  Darling,  in  "Peter  Pan."  "The  Tale 
of  Two  Cities"  was  filmed  years  ago,  with 
William  Farnum  as  the  hero.  Write  Wini- 
fred Westover,  in  care  of  United  Artists 
studio.  Lenore  Ulric's  Fox  contract  was 
bought  out,  but  perhaps  they  would  for- 
ward her  mail.  Thanks  so  much  for  the 
suggestion  about  publishing  a  list  of  ages, 
birthplaces  and  so  on,  but  there  are  sev- 
eral thousand  featured  players  on  the 
screen,  so  I'm  afraid  we  haven't  room  for 
that. 

Tina  Gordon". — That  worried  look  you 
speak  about  comes  from  these  talking  pic- 
tures. In  my  dreams  I  fret  over  who  sings 
what  in  which  film,  because  of  course  I 
can't  see  them  all.  If  you  can  tell  me 
the  character  name  of  the  man  in  "The 
Desert  Song,"  who  sings  "If  One  Flower 
Grows  Alone  In  Your  Garden,"  I  can  give 
you  his  name.  Carlotta  King  is  from  the 
stage:  she  is  married  to  a  poet,  Sidney 
King  Russell,  and  there  are  no  children. 
She  is  still  under  contract  to  Metro- 
Goldwyn,  I  think,  though  they  aren't  using 


her.  John  Boles  is  a  big  star  now,  be- 
cause of  his  voice.  His  new  film  is  "Cap- 
tain of  the  Guard."  He  is  married  and 
has  a  three-year-old  daughter,  Jane  Har- 
riet. 

Trixie. — With  all  those  questions  on 
your  mind  you've  been  carrying  around  a 
load.  I'll  be  gallant  and  carry  it  for  you. 
Richard  Arlen — Richard  Van  Mattimore 
— was  born  in  Charlottesville,  Virginia, 
September  1,  1899.  He  is  five  feet  ten. 
"Wings"  was  his  most  important  picture, 
in  which  Buddy  Rogers  and  Clara  Bow 
played  the  leads.  I  haven't  space  to  list 
all  his  films.  His  next  one  is  "Light  of 
Western  Stars,"  for  poor  Dick  is  now 
doomed  to  Westerns.  Nancy  Carroll — • 
Ann  Lahiff — was  born  on  Tenth  Avenue, 
New  York,  November  19,  1906.  Whether 
interviewers  do  or  don't  like  Alice  White, 
she  is  of  interest  to  the  public,  isn't  she? 
Marie  Prevost  was  born  November  8th, 
Gertrude  Astor  on  the  9th,  Gwen  Lee  on 
the  12th.  "What  the  Fans  Think"  pub- 
lishes letters  considered  of  most  general 
interest  to  all  the  readers. 

Peppy  Peggy. — Answer  questions?  As 
if  I  had  time  for  anything  else !  Josephine 
Dunn  was  once  married  to  William  P. 
Cameron,  but  it  was  annulled ;  she  is  not 
married  nor  engaged  now.  Buddy  Rogers 
has  lots  of  girls,  so  doesn't  go  about  with 
Claire  Windsor  exclusively.  Sue  Carol 
is  21,  Nick  Stuart  24,  Bebe  Daniels  29. 
Jean  Arthur  was  born  on  October  17th,  but 
doesn't  say  which  one. 

L.  A.  Hydes. — This  seems  to  be  Richard 
Arlen  month.  See  Trixie.  Dick  Arlen 
has  blue  eyes,  brown  hair,  and  weighs  160. 
He  went  to  school  in  St.  Paul,  where  he 
grew  up,  and  attended  St.  Thomas  College 
and  the  University  of  Pennsylvania.  He 
joined  the  Royal  Flying  Corps  during  the 
war,  and  was  a  newspaper  man  before  ap- 
pearing on  the  screen.  And  my  hat  is  off 
to  him  as  one  of  the  real  regular  guys  of 
the   movies. 

Tili.te  the  Toiler. — Who  said  toil, 
around  here,  with  the  stack  of  letters  I 
have  to  answer !  Norma  Talmadge  says 
she  was  born  on  May  26th — fill  in  the 
year  yourself.  The  bachelor,  Gilbert  Ro- 
land, was  born  December  11,  1905.  Mau- 
rice Chevalier  is  about  33,  and  is  no  re- 
lation to  Albert  Chevalier.  Irene  Bor- 
doni's  song,  in  "Show  of  Shows,"  was 
"Just  An  Hour  of  Love."     I  can't  always 

Continued   on   page   120 


(   mtinued  from  page  •*> 
seillaise"  by  Rouget  de  Lisle,  who  is 
represented  as  a  young  guardsman  in 

the  service  ol  1  '.    He  falls 

in  love  with  an  innkeeper's  daughter, 
but  before  they  can  be  married  be  is 
summoned  to  Paris  to  join  his 
merit  at  the  instigation  of  a  n 
man  who  is  also  in  love  with  sprightly 
Marie  Mamay.  Her  father  mur- 
dered by  henchmen  of  the  king,  mad- 
Cap  Marie  becomes  a  vengeful  leader 
oi  the  revolutionists  known  by  the 
incendiary  i.ickname  oi  "The  Torek." 
Rouget  de  Lisle  makes  this  discovery 
when  he  is  sent  to  capture  this  enemy 
of  the  king-,  whose  influence  over  the 
maddened  peasants  already  is  disturb- 
ing the  royal  family.  'When  The 
Torek,  is  imprisoned  in  the  Bastille. 
De  Lisle  composes  the  march  which 
later  became  the  national  anthem. 
The  Bastille  is  stormed  by  singing 
republicans  ami  the  lovers  are  united. 
this  amiable  distortion  of  fact  asking 
■  believe  that  Laura  La  Plante. 
\yho  plays  Marie,  incited  the  revolu- 
tion that  John  Roles  might  compose 
the  "Marseillaise"  and.  for  good 
measure,  that  the  fall  of  the  Bastille 
be  brought  about  in  the  interests  of 
love's  young  dream.  This  nonsense 
is  not  to  be  taken  seriously.  The  pity 
of  it  is  that  even  the  French  Revolu- 
tion can  be  made  silly  in  the  wrong 
hands.  However,  it  is  conceded  that 
the  capture  of  the  Bastille  is  effec- 
tively  managed,   but    it   takes    rather 


The  Screen  In  ReVieW 

more     than     thai     to     hit     a     childish 

tta  mto  adult  entertainment 
hfisa   la   Plante   is.  as  you   may 
»s,  misca  .  inciter  oi  mob 

violence.  She  in  as  you  certainly 
know,  a  sparkling  comedienne  when 
acting  m  her  true  milieu.  Mr.  B 
a  pleasing  singer,  i>  Mill  an  inadequate 
actor  whom  practice  doesn't  teem  to 
cure  of  stiffness.  His  scene  when  in 
the  throe>  of  composition  leads  one 
to  rise  and  ask.  "Is  there  a  doctor  in 
the  audienci 

Husband   and   Wife. 
Any    picture    in    which    Claudette 
Colbert  appears  is  interesting,  because 

she  is  beautiful  ami  capable.  That 
is  why  "Young  Man  of  Manhattan" 
assumes  an  importance  it  would  not 
have  if  less-distinguished  talent  were 
present.  Miss  Colbert's  own  contri- 
bution to  the  picture  is  augmented  by 
that  of  Norman  Foster,  her  husband 
in  reality  as  well  as  in  the  film,  and 
Charles  Ruggles.  There  is  also  (lin- 
ger Rogers,  a  debutante  from  musical 
comedy,  who  establishes  herself  as  a 
skillful  and  engaging  comedienne  of 
the  baby-talk  school.  They  tell  the 
story  of  a  sports  writer,  his  marriage 
to  a  movie  critic,  his  flirtation  with  a 
lady  of  leisure  and  the  part  played  by 
his  bibulous,  sympathetic  pal  in  pro- 
moting harmony.  It  is  an  ordinary 
story  devoid  of  high  lights,  but  it  be- 
comes   moving    at    times    hecause    of 


the  delicate,  lifelike  acting  of  the  four 
principals.  It  is  well  worth  seeing, 
n   mil)    to  become  acquainted   with 

Miss  t.  olbert  who  will  pla>   a  l 

p.n  t  in  the  mo>  ii 

come.  I-  with 

mount. 

Do  You  Like   Musical  Comedy? 
"1  [old   Ever)  thing"  is  another  mu- 
sical   corned)    in    Technicolor,    with 
\\  mine    I  .ightner,    Joe    I  ,     Brow  n, 
I    i  pentier,    Sally    <  t'Neil, 
Dorothy  Revier,  and  Bert  Roach.    It 

is  conspicuous  l"i"  vigor  rather  than 
charm,  for  obviousness  more  than 
subtlety,   and    for    routine    instead   of 

originality,  hut  it  will  please  many. 

A      prize-fight      story,      it      en  ■ 
around  a  French  champion,  • 
La  Verne,  and  the  efforts  of  his  ene- 
mies to  incapacitate  him  for  the  big 

bout.  He  has  a  sweetheart,  of  course, 
and  her  rival  is  a  Society  girl, 
ondary  romance  is  found  in  the  comic 
wrangling  of  Gink,  the  champion's 
sparring  partner,  and  his  girl.  Gink 
is  played  by  Mr.  Brown  and  'Toots  by 
Miss  Lightner,  so  you  can  guess  their 
monopoly  of  the  footage.     Each  is 

amusing  at  times,  but  they  grow 
monotonous  in  their  strained  efforts 
to  be    funny,   while   the   vocal    efforts 

Mr.  Carpentier  are  such  as  to 
make  the  song  hit,  "You're  the  Cream 
in  Mv  Coffee,'*  smnid  like  nothing  at 
all. 


TO  VICTOR  McLAGLEN 


You  make  me  think  of  a  strong,  clean  wind  that  bli 
o'er  the  hills  at  the  break  o'  day. 
n  make  me  think  of  a  laughing  god  when  the  world 
-  young,  and  the  gods  were  gay. 
I  know  you  belong  to  another  age — you  with  your  laugh- 
ter and  soul  of  a  knight ; 
But   I'm  glad   that  you  live   to-day.   and   give   us   your 
smile  for  our  hearts'  delight ! 


The   sorriest   heart   that  this  world   could   hold,    remem- 
bering your  smile,  would    forget   to  sigh; 

The  happiest  heart  remembering,  too,  would  be  the  richer 
thereby ! 

The  gift  you  give  is   rarer  than   gold,    for  it   makes  life 

seem   worth   while. 
\nd   SO    I    sing   this   little   sung   to  thank   you    for   your 
smile!  Iki 


A   CHALLENGE  TO 
Grotesque  Chaney,  the  hunchback  man, 

Nefarious  Chancy,  the  shrewd  unknown, 
Kind,  old  Chaney  the  thunderer: 

A   grand,  great  trouper,   standing  alone. 

Many  a  tear  I've  given  to  you. 

Though  I  am  old  and  six   feet  : 
I  cannot  hold  my  grief  in  bound 

When  all  your  dreams  and  hopings   fall. 


CHANEY 
Laughing,   clowning   circus   man. 
Driftwood  prince  in  Zanzibar, 

Legless   freak  in  a  factory  town  ; 
A  man  with  a  face  for  every  star. 

But.  ah,  clever  Chancy,  with  all  your  art. 

There's  one  role   I  dial!' 
How  could  you  ever  hope  t<»  delim 

A  dashing,  handsome  college  ihi 

in   Fairway. 


LESSONS  IN  LOVE 

I  had  a  little  boy   friend  He  holds  me  in  his  arms  and  I 

And.  gosh,  hut  he  was  dumb!  Into  m-. 

He  didn't  know  one  thing  al>out  And  v. 

This  stuff  called  love — the  bum!  In  proper  movie  fashion. 

I  took  him  out  to  movie  shows  That  man                   and  awkward. 

To  sorta  wise  him  up;  And  he  wouldn't  bold  my  hand. 

Since  then  he's  soaked  up  Gilbert's  stuff,  lince  1" 

Xow  he's  nobody's  pup!  Oh,  girU,  ain't  nature  grai 

I".  KUB  \R  \. 


1{M  The 

Continued  from  page   19 
Arc  they  deserving?    That  is  not 
the  question.     The  glow  of  one  or 
1 1 10    other    will    some    day    probably 
make  way  for  a  newcomer. 

Bessie  has  fought  the  most  uphill 
battle  through  the  years.  She  is  the 
most  deserving  of  earned  rewards. 
Betty  has  always  been  shrewd  and 
businesslike.  This  has  been  to  her 
advantage,  even  in  the  days  when 
she  was  doing  big  roles  in  small  pic- 
tures. She  made  them  pay.  Lila  let 
home  life  supersede  everything  at  one 
time.  She  lived  on  a  ranch  far  from 
the  colony.  It  was  not  an  advan- 
tageous position;  one  can  best  jump 
aboard  Hollywood's  whirligig  when 
one  is  right  in  Hollywood. 

One  reads  that  a  star's  contract  has 
been  allowed  to  lapse.  "What  does 
that  mean?"  the  world  asks.  It  may 
mean     anything.       Madge     Bellamy, 


Heartbreak  Bekind  The  Smile 


Jetta  Goudal,  Eleanor  Boardman, 
Raymond  Griffith,  Betty  Bronson, 
and  various  others  that  might  be 
named  at  random,  know  what  it 
means.  Whether  it  was  their  own 
wish  or  not  that  brought  the  cancel- 
lation about,  it  is  a  dreary  thing  to  be 
cast  into  the  uncertain  world  of  the 
free  lancers,  particularly  after  you 
have  been  with  a  studio.  Sometimes, 
though,  it  may  work  out  to  great 
advantage.  A  few  have  proved  that 
it  does,  like  Miss  Lee,  Miss  Comp- 
son,  and  Edmund  Lowe,  who  was 
away  only  a  short  time  from  Fox 
before  he  was  signed  again  at  a 
higher  salary.  And  now  Mary  As- 
tor,  who  was  out  eight  months,  but  is 
busy  again.  But  they  are  exceptions. 
The  most  fortunate  of  free-lance 
stars  generally  get  about  six  engage- 
ments a  year.      Perhaps  the  average 


duration  is  a  month,  or  six  weeks. 
There  is  bound  to  be  some  idleness, 
with  no  returns. 

The  majority  of  players  who  are 
not  under  contract  work  on  a  differ- 
ent routine  when  they  are  lucky.  I 
refer  to  character  actors  and  the  like. 

They  are  hired  for  a  picture,  say 
at  $500  a  week,  and  are  retained  only 
long  enough  to  carry  out  the  scenes 
in  which  they  figure.  Two  weeks  of 
work  on  each  film  is  probably  the 
average.  Five  or  six  pictures  a  year 
— $5,000  annual  income.  Stretch 
that  over  fifty-two  weeks  and  a  hun- 
dred dollars  a  week  is  the  average 
return.  A  pretty  fair  living,  as  the 
world  goes. 

That's  really  what  keeps  the  movie 
mill  milling  in  Hollywood — that  and 
the  witch  light  of  the  great  stellar 
position  that  may  come  some  day. 


Continued   from  page  22 

I  was  also  in  a  picture  with  Mae 
Marsh  and  Rod  La  Rocque.  Miss 
Marsh  played  the  part  of  a  shopgirl, 
and  I  was  a  customer  who  walked  up 
and  asked  her  the  price  of  a  rolling 
pin,  and  then  passed  on.  I  was  in 
one  of  Tom  Moore's,  and  one  with 
Madge  Kennedy. 

Louise  Huff,  Frank  Mayo,  June 
Elvidge,  Johnny  Hines,  John  Bowers, 
Madge  Evans,  Theda  Bara,  Ethel 
Clayton,  Louise  Glaum,  George 
Walsh,  and  many  others  could  be 
seen  on  the  streets  of  Fort  Lee  any 
day.  Johnny  Hines  drove  a  big,  yel- 
low roadster,  and  George  Walsh  used 
to  lift  newsboys  on  his  shoulders. 

The  following  year  I  worked  in 
"The  Beast  of  Berlin,"  directed  by 
Bill  Nigh  :  a  picture  with  Marion  Da- 
vies,  "The  Restless  Sex,"  in  which  I 
was  a  female  impersonator.  I  had  a 
small  bit  to  play,  and  my  father  and 
mother  came  from  New  Haven  to 
see  it  at  the  Criterion  Theater,  but  all 
they  saw  of  their  cherished  son  was 
one  brief  flash.  It  meant  as  much  to 
me  then  as  my  name  in  lights  at  the 
same  theater  in  "Beau  Geste"  years 
later. 

It  was  about  this  time  that  I  was 
called  for  a  picture  at  the  Pathe  stu- 
dio, called  "The  Great  Romance," 
with  Harold  Lockwood  and  Rubyc 
de  Reiner.  I  was  a  page  at  the  top 
of  a  long  flight  of  stairs  and  had  to 
bow  to  Mr.  Lockwood  as  he  came  by, 
and  although  by  this  time  I  had  lost 
some  of  my  awe  for  stars,  he  still 
was  my  hero.  I  summoned  sufficient 
courage  to  ask  him  for  a  photograph, 
which  he  very  kindly  gave  me,  auto- 
graphed, and  it  is  one  of  my  treas- 
ured possessions  to-day.  He  was  a 
charming    fellow,    very    simple    and 


I  Stop  To  Look  Back 

democratic  and  the  handsomest  man 
I  ever  laid  eyes  on.  I  spent  quite  a 
good  deal  of  time  in  conversation 
with  him  during  the  three  days  I 
worked  in  the  picture.  It  was  shortly 
after  this  that  I  learned  of  his  death 
while  he  was  on  a  Liberty  Loan  cam- 
paign, and  I  was  as  genuinely  grieved 
as  if  he  had  been  a  relative. 

About  this  time  I  did  a  picture  with 
Francis  X.  Bushman  and  Beverly 
Bayne,  and  it  was  my  first  experience 
in  working  continuously  for  more 
than  a  week,  the  reason  being  that 
I  was  right  behind  the  principals  and 
close  to  the  camera  at  a  garden  party. 
The  house  was  painted  in  black  and 
white  squares.  After  working  for 
four  days  a  terrific  rain  came  up  and 
washed  all  the  black  and  white  off,  as 
they  were  only  water  colors.  So  I 
was  carried  on  the  pay  roll,  although 
not  actually  working,  until  the  house 
was  repainted,  as  I  was  necessary  to 
this  particular  sequence. 

A  little  before  this  I  was  called  by 
the  World  studio  to  go  to  Rye  Beach, 
where  I  was  to  don  a  bathing  suit 
and  sit  on  the  sand.  My  companion 
on  the  sand  was  a  little  girl  who,  I 
thought  at  the  time,  was  the  most 
beautiful  human  being  I  had  ever  laid 
eyes  on.  And  I  felt,  although  she 
was  only  an  extra,  that  of  all  who 
were  trying  to  get  a  hold,  surely  she 
would  be  preeminent,  as  she  had  a 
perfect  photographic  face,  lovely  fig- 
ure, and  lovely  manner.  Her  name 
was  May  McAvoy.  About  six  months 
later  she  was  signed  for  "Sentimental 
Tommy,"  and  from  that  went  stead- 
ily upward. 

I  was  never  able  to  crash  the  gate 
of  the  Famous  Players  on  57th 
Street.      T   was   sent   many   times   by 


various  agents  for  various  bits,  but 
always  lacked  the  required  experi- 
ence. I  could  not  even  get  extra 
work  there,  although  I  sat  for  hours 
at  a  time  holding  photographs  of  my- 
self. 

About  this  time  I  paid  my  first 
visit  to  the  Vitagraph  studio  in 
Brooklyn,  getting  a  tiny  bit  in  a  pic- 
ture with  Anita  Stewart. 

The  casting  office  was  presided 
over  by  a  man  named  George  Loomis, 
and  I  received  more  work  and  greater 
consideration  from  him  than  from 
any  of  the  other  studios,  working  in 
some  of  O.  Henry's  stories,  with  Ag- 
nes A3Tes,  Huntly  Gordon,  and 
Gladys  Leslie.  I  was  also  in  "The 
Lion  and  the  Mouse,"  with  Alice 
Joyce  and  Conrad  Nagel,  and  some 
pictures  with  Harry  Morey.  I  did 
several  more  with  Mr.  Bushman  and 
Miss  Bayne,  with  Earl  Williams,  and 
Mr.  and  Mrs.  Sidney  Drew. 

About  this  time  I  wrote  a  letter 
to  Lois  Weber,  sending  my  pictures 
to  California,  and  received  a  courte- 
ous reply,  stating  that  she  had  noth- 
ing for  me,  although  she  said  she 
thought  I  was  a  good  type,  but  had 
better  stay  in  the  East  where  there 
was  as  much  work  as  in  Hollywood. 

About  this  time  I  met  a  young  man 
who  asked  if  I  had  ever  done  any 
posing.  He  gave  me  the  address  of 
Joseph  Leyendecker,  telling  me  to 
see  him  and  use  his  name.  I  never 
dreamed  artists  painted  from  models. 
However,  I  went  to  see  Mr.  Leyen- 
decker. and  shortly  after  did  a  collar 
ad.  followed  by  a  Saturday  Evening 
Post  cover  for  the  Thanksgiving 
number  of  1918,  of  which  to-day  I  am 
the  proud  possessor  of  the  original. 
Continued  on  page  107 


102 


Random   Notes   On   Billy 
Continued   from   page  43 

The    three    bedrooms    with    their 
four-poster  beds,  highboys,  and  Sher- 
aton chairs.    A  couple  of  Bohemian, 
-  pert  nine  bottles  and  a  huge  de- 
canter   descended    from    his    great- 

it-grandmother.        I  ':hcr     pi. 
which  lie  naively  explained  came  from 
Virginia,  hut  not  with  any  thought  of 
making   me   think   they   had   also  de- 
led from  his  forbears, 

"Sentimental?"  1  asked. 

"No.  I  haven't  a  souvenir  or  a 
picture  from  any  production  I've  ever 
played  in — not  even  a  set  of  stills. 
I've  never  asked  a  friend  lor  a  pic- 
ture, and  I  don't  believe  I  have  one 
of  myself  in  the  house  that  I  could 
give  if  I  were  asked  for  one.  I  live 
in  the  present — not  the  past."  But 
still,  those  pieces  from  his  home  in 
Virginia.  He  could  have  bought 
similar  pieces  in  California  without 
having  them  shipped  here. 

The  telephone  interrupted.  Polly 
Moran.  And  Bill's  whole  manner 
changed.  "You've  gotta  come  up  for 
dinner  to-night.  You  haven't  been 
here  in  a  coon's  age.  Roger'll  be  here 
and  no  one  else.  We'll  have  a  swell 
time.     See  you  later.     'By." 

He  turned  back  into  the  room. 
''Great  girl,  Polly.  She  and  Marie 
Dressier  worked  in  my  last  picture. 
I'm  scared  to  death  of  the  pair  of 
them.  Polly'll  give  a  little,  because 
we're  friends,  but  with  Marie  acting 
is  a  business — friends  or  no  friends — 
and  she's  out  to  make  a  hit.  Let  her. 
Xuts  to  these  stars  who  are  afraid 
to  have  another  good  actor  in  the 
cast  for  fear  of  having  the  picture 
stolen.  If  any  one  can  steal  my  pic- 
ture, more  power  to  'em.  I  still  get 
credit  for  it  as  long  as  I'm  starred. 
If  Marie  can  make  a  hilariously 
funny  scene  in  my  picture  and  get 
herself  some  good  notices — let  her. 
People  will  still  say  'Bill  Haines'  pic- 
ture is  a  knock-out' — even  though  it 
is  Marie  who  marie  it  one." 

Downstairs.  Some  gorgeous  Ve- 
netian pieces  in  the  drawing-room. 
Dining-room  furniture  that  beggars 
description,  and  Bill  blushing  like  a 
schoolboy  as  he  showed  me  his  silver 
dining  service  and  proudly  exhibited 
the  scratches  on  the  plates  which 
came  from  i:  I  could  see  that 

they  were  not  there  just  for  show. 

And  then  two  more  impression 
him.  One  at  a  party  in  some 
else's  home — boisterously  ime- 

times   verging  on   the   rowdy    in   his 
humor.        Hollywood's      best      v. 
cracker. 

And,  lastly.  Bill  Haines  in  his  own 
home.  The  real  Haines  ?  Bill  Haines, 
gentleman. 


e  jafe . . . 

remove  cold  cream 
the  Kleenex  way 


Be  Safe  when  you  remove  cold  cream. 
Don  t  use  a  method  that  may  stretch  and 
relax  the  skin  .  .  .  like  coarse,  unabsor- 
bent  towels.  Don't  use  unhygienic  "cold 
cream  cloths,"  which  usually  carry  bac- 
teria into  the  pores  instead  of  lifting 
impurities  away. 

Kleenex  is  safe.  Great  skin  authorities 
recommend  it,  great  beauties  use  it.  livery 
Kleenex  tissue  comes  from  the  box  pure, 
soft,  absolutely  free  from  the  germs  that 
•► —        f 

.  Helen  Wright. 
Unit  (trial's    uUntt-d 
new  leading  lad; 
her  own  feminine  rea- 
sons for  removing  cos- 
metics with  Kit: 
"Such  lot  el)  tints  ! 
Kleenex  not  on'., 
motes     make-up    and 
cleansing   tt 
thoroughly  —  /'/    puts 
me  in  the  right  mood 
for     a     beaut)     Irtjt- 
menl." 


are  so  dangerous  to  complexion  beauty. 

And  Kleenex  is  so  very  absorbent. 
The  delicate  tissues  simply  blot  up  the 
surplus  cream,  along  with  lingering 
bits  of  dirt  and  cosmetics.  No  rubbing 
is  needed. 

Kleenex  tissues  arc  becoming  more 
and  more  popular   for  handkcrcli: 
They  are  so  fresh,  clean  and  soft  .  .  . 
and    do  away    with    unpleasant    hand- 
kerchief laundering. 

Doctors  advise  Kleenex  when  there's 
a  cold,  to  avoid  reinfection.  Think  June 
much  better  to  use  a  tissue,  then  discard 

it,  than  a  germ-filled  handkerchief. 

Ask  for  Kleenex  at  the  toilet  J 
counter  of  any  drug  or  depart nn  I 


Kleenex v  Leansing  I  issues 

ii 


N 
- 


106 


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POPULAR  STAB 


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Continued   from  page  49 


ing  the  buck,  and  seeking  to  get  his 
rivals  thrown  out,  there  is  apt  to 
come  the  dawn,  when  his  boss,  or  fel- 
low  employees,  detect  his  methods. 
Then  it's  "this  way  out"  for  him. 

One  studio  politician  lasted  for 
years,  only  because  his  fellow  work- 
ers were  too  absorbed  in  playing  their 
own  games  to  notice  his.  When  dis- 
covered, he  was,  of  course,  black- 
listed. 

Until  then,  he  reaped  a  harvest  in 
connection  with  his  job  as  scenario 
editor.  He  split  commissions  with 
agents  who  sold  him  stories.  Really, 
this  meant  that  he  received  bribes  for 
getting  his  company  to  produce  the 
stories  he  offered,  rather  than  those 
offered  them  from  sources  which 
would  not  net  him  a  handsome  rev- 
enue. 

An  odd  case  of  blacklisting  was 
that  accorded  two  Hollywood  scenario 
writers.  They  took  a  trip  to  an  out- 
of-the-way  mountain  resort,  some 
hundred  miles  from  the  talkie  town. 
There,  in  the  privacy  of  a  small  hotel 
dining  booth,  they  felt  free,  for  the 
first  time  in  months,  to  exchange  all 
their  stored-up  grievances  against 
their  studio  boss.  When  they  re- 
ported back  to  work,  he  called  them 
into  his  sanctum  and  fired  them. 

The  boss'  wife  had  been  sitting  in 
the  booth  next  theirs  at  the  inn,  lis- 
tening to  their  conversation. 

One  lovely  leading  lady  was  put  on 
Hollywood's  black  list  for  falling  in 
love  with  her  leading  man.  As  a 
rule,  this  is  quite  the  thing  to  do,  but 
in  her  case  it  wasn't.  The  magnate 
who  was  sponsoring  her  career  was 
also  her  husband. 

He  gave  her  the  choice  of  giving 
up  her  handsome  lover,  or  getting 
out  of  pictures.     She  chose  to  exit. 

Panning  Hollywood  and  Holly- 
wood people  is  getting  to  be  com- 
monplace. But  time  was  when  the 
town,  and  town  luminaries,  like  the 
kings  of  old,  could  do  no  wrong.  In 
those  dark  ages,  a  few  local  editors, 
crusaders  in  the  free-speech  cam- 
paign in  Hollywood,  were  barred 
from  every  studio,  because  they 
razzed  pictures  and  picture  people. 

A  fan  writer  who  wrote  satires  on 
some  leading  stars  was  threatened 
with  deportation  to  his  native  Eng- 
land. 


Writer  after  writer  was  placed  on 
the  list  of  condemned,  but  when 
Hollywood  discovered  that  shortly 
there  would  be  none  left  to  give  it 
free  publicity,  it  began  erasing  names, 
and  adopted  the  slogan,  "Publicity, 
may  it  always  be  favorable,  but  fa- 
vorable or  not,  publicity." 

Being  the  wrong  type  may  be  as 
good  a  reason  as  any  for  being  black- 
listed in  Hollywood  circles.  Some 
casting  directors  deliberately  play  fa- 
vorites. The  players  who  don't  fawn, 
or  get  along  with  them  personally, 
receive  little  or  no  work. 

Most  casting  directors,  however, 
try  to  be  as  fair  as  possible.  But,  like 
the  rest  of  humanity,  even  these  have 
their  likes  and  dislikes  which  cause 
them,  sometimes  quite  unconsciously, 
to  boycott  certain  actors  and  favor 
others.  They  can  justify  their  turn- 
ing down  of  almost  any  one,  to  them- 
selves as  well  as  to  others,  by  saying, 
"He's  not  the  right  type." 

This  is  Hollywood's  pet  phrase. 
And  it's  employed  frequently  by 
others  than  the  casting  director. 
There  are  famous  directors  who 
won't  allow  any  one  on  their  set  who 
isn't  the  type  they  prefer.  One  di- 
rector blacklisted  an  excellent  violin- 
ist, because  he  had  a  Vandyke  beard. 
It  seemed  that  a  despised  teacher  of 
his  boyhood  days  had  worn  one. 

Hollywood,  far  from  being  the 
town  of  the  free,  is  a  town  of  many 
taboos.  No  matter  how  carefully 
you  step,  you're  apt  to  tread  on  some 
one's  toes,  and  be  entered  on  the  un- 
written scroll  of  the  doomed. 

This  accounts  for  the  air  of  fear 
and  secrecy  which  seems  to  lurk  in 
every  alley. 

Is  there  any  way  to  avoid  being 
blacklisted?  The  only  method  Hol- 
lywood knows  is  to  yes  everybody. 
Hence  the  town  is  overrun  with  yes 
men. 

But  believe  it  or  not,  even  these 
diplomatic  gentlemen,  who  make  it 
their  policy  never  to  disagree  with 
the  producer  or  director  who  hands 
them  their  pay  checks,  have  been 
known  to  get  on  the  black  list. 

They  were  put  there  by  those  rare 
souls,  directors  who  preferred  truth 
for  an  occasional  diet,  rather  than 
purchased  blarney. 


THOSE  SCREEN  TROUSERS 

Old  Mother  Hubbards 
Once  adorned  our  aunts. 

Now  the  name  describes 
Those  Hollywood  pants. 

Marsh  Allen. 


107 


I  Stop  To  Look   Back 

Continued  from  page  liM 


Mr.  Leyendecker  suggested  that  I 
see  Harrison  Fisher,  and  in  this  way 
I  built  up  a  good  deal  of  work  for 
myself  among  the  artists,  and  am 
very  proud  and  happy  oi  my  associa- 
tions, in  some  instances  brief  and  in 
others  of  quite  a  long  duration,  with 
such  artists  as  James  Montgomery 
Howard  Chandler  Christy, 
Clarence  Underwood,  Jack  Shelton, 
Arthur  William  Brown,  Harry  Morse 
Myers,  Mr.  and  Mrs.  James  William 
Preston,  Orson  Lowell.  Norman 
Rockwell.  Coles  Phillips,  Charles 
Dana  Gibson,  Will  Crete,  and  Irma 
Dermeaux. 

Among  the  models  who  were  con- 
sidered the  finest  photographic  snh- 
jects  were  May  McAvov.  Billic  Dove, 
Kathryn  Carver.  Kathryn  McGuire. 
Mimi  Palmieri,  Edna  Murphy,  and 
Frances  McCann. 

The  artists  paid  six  dollars  a  day, 
while  photographers  paid  anywhere 
from  three  dollars  and  a  half  to  five 
dollars,  but  it  was  possible  to  work 
with  two  or  three  photographers  in 
one  day.  My  work  with  the  artists, 
coupled  with  photographic  posing, 
brought  me  a  substantial  income,  and 


1  seemed  to  drift  away  from  pictures 
for  two  years,  until  suddenly   1  dis 
covered  that   1  was  devoting  all  my 
time  to  artists  and  photographers,  ■ 
course  that  would  lead  me  nowhere  in 

my  search  for  fame  and  glory. 

Before  leaving  Fort   Lee,  the  old 

lady  with  whom  1  first  lived,  moved 
away,  which  necessitated  my  finding 

another  room.  1  did  so  with  an  Ital- 
ian family,  and  things  went  from  had 
to  worse.  Sad  to  relate,  one  night  I 
skipped  with  all  my  belongings,  as 
I  was  six  weeks  in  arrears  in  my 
rent.  I  decamped  to  Xew  York  with 
a  pal.  ami  the  lady  wrote  to  my 
father.  He  promptly  arrived  in  town, 
took  me  by  the  hand  over  to  Fort 
Lee,  paid  my  debt,  and  made  me 
apoloL; 

During  these  two  years  I  paid  vis- 
its to  my  father  and  mother  aboul 
once  a  month,  and  always  to  their 
questions  as  to  whether  anything  had 
turned  up.  I  was  able  to  invent  fine 
stories  of  what  So-and-so  had  said 
about  me  and  what  grand  parts  had 
been  promised  me. 

TO    BE    CONTINUED. 


The  Mastery  of  Your  Name 


Continued  from  page   100 


gets  a  thrill  out  of  nothing  less  than 
a  big  business  struggle  may  not  un- 
derstand the  excitement  of  a  father 
taking  home  a  bunch  of  flowers  to 
his  little  girl.  The  John  Smith  who 
is  urged  to  take  part  in  a  crooked 
deal  on  the  Stock  Exchange  will  have 
no  harder  struggle  to  retain  his  honor 
than  will  John  Smith,  the  grocer's 
clerk,  who  is  tempted  to  tamper  with 
the  cash. 

Behind  human  nature  there  is  Man, 
the  divine  being  who  is  learning  to 
recognize  himself  by  means  of  hu- 
man life,  and  through  which  he  must 
express  himself.  And  behind  this  in- 
finite being.  Man.  there  is  God. 

Every  time  any  human  experience. 
good  or  bad.  gives  you  a  glimpse  of 
that  divine  self,  you  have  taken  one- 
more  step  toward  that  completeness 
that  you  know,  in  your  heart,  is  yours. 
That  is  what  human  experience  is  for. 
Where  you  stand  in  regard  to  this 
realization  of  human  life,  of  infinite 
life,  of  God.  is  written  in  your  name, 
because  there  can  be  no  vibration. 
even  of  the  sound  of  the  name  that 
controls  you.  that  is  not  a  part  of  the 
infinite  pattern   of   life. 

S.  R.  M  .  July  24.  1894—  All  through 
your  life  you  have  wondered,  and  a! 


will  wonder,  why  you  have  such  terrific 
obstacles  to  overcome.  They  are  written 
three  times  in  four  totals  of  your  name. 
Xo  matter  what  you  attempt,  unexpected, 
unnecessary  difficulties  pile  up  before  you, 
which  nothing  but  hard  work  and  in- 
genuity can  overcome.  One  good  thing  is 
that  you  do  not  allow  them  to  get  on  your 
nerves,  because  you  have  a  naturally  con- 
tented temperament  that  does  not  create 
any  struggle  on  its  own  account.  I  am 
afraid,  however,  that  this  contentment  will 
keep  you  from  putting  forward  the  i  • 
sary  energy  to  accomplish  what  you  must 
in  order  to  achieve  anything  of  real  value 
in  the  face  of  all  the  difficulties  Make 
up  your  mind  that  you  must  put  an  extra 
punch  behind  everything  you  do.  Up  to 
the  age  of  seven  or  eight  you  wire  a  very 
good-looking,  active,  independent  young- 
ster. At  about  eleven  foil  must  have  been 
in  serious  danger  from  water  or  fire.  At 
seventeen  you  wire  wrapped  up  in  such 
high  ideal-  that  your  friends  hardly  knew 
you,  and  you  suffered  deeply  from  a  very 
real,  even  if  very  young,  i 
twenty  and  twenty-seven  your  li- 
downhill  terribly,  and  it  is  only  at  the 
nt   time   that   ;  tting 

on  your  .     During  (hi 

•  en    worried,    ill,    and    in 
great  confusion   a- 

you  are  forty- four  you  will  be  extremely 
successful    and     will     within     fiv< 

■ 
come       II    Id    '■'<    I  this, 

bec.v 
all  the  detei 

• 
In  the  end  you  really  will  have  more  than 


G# 


ii  the 
same  time  it 

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i 


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perspiration  •■■ 

Mum  is  as  bland  as  anv    far. 
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fectly  harmless  t"  fabi 

tion  is  to  neutralize  tl 

by  the  chemistry  of  the  body. 

Keep    your     jar    of     Mum    on 
ing  tab' 

•    all    the 
time      All  tor 

nearly  t!  • 

And     you     use     so     little     each     t 
Ther- 


108 


Tha  Old 
Roliabla 
Credit 


19 


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Over  The  Teacups 

Continued   from  page  33 


to  bed.  She's  such  a  brave,  gallant 
soul  that,  instead  of  becoming  a 
querulous  invalid,  she  set  out  to  write 
the  novel  she  had  had  in  mind  for 
years.  Sometimes  she  was  so  weak 
that  she  could  dictate  for  only  a  few 
minutes  a  day,  but  Frances  Marion 
kept  urging  her  on  and  when  the 
book  was  finally  finished  and  pub- 
lished, it  had  tremendous  success. 

"In  the  book  the  main  character  is 
a  young  girl,  but  another  character, 
a  philosophical  old  outcast,  is  so  grip- 
ping she  haunts  you.  That's  the 
role  Miss  Dressier  will  play. 

"Now  that  they've  got  around  to 
starring  Marie  Dressier,  I  wish  some- 
thing could  be  done  about  Zasu  Pitts. 
Of  course,  if  she  was  starred  she 
wouldn't  have  a  chance  to  make  so 
many  pictures,  and  many  a  common- 
place film  has  been  saved  by  having 
Zasu  in  it,  even  if  her  part  was  small. 
Maybe  she  would  rather  not  be 
starred.  She  was  once,  and  it 
brought  her  nothing  but  grief." 

Fanny  was  invited  a  few  days  ago 
to  speak  at  a  girls'  school  on  "Stars 
I  Have  Known."  She  wrote  the 
chairman  of  the  affair  and  asked  her 
to  have  the  girls  specify  which  ones 


they  were  most  interested  in.  She 
was  delighted  to  find  that  Joan  Craw- 
ford was  a  big  favorite,  but  she  was 
so  annoyed  at  their  leaving  Zasu  off 
the  list  that  she  says  she  won't  go. 
If  they  but  knew  it,  no  matter  what 
she  starts  out  to  talk  about,  she  will 
get  in  a  glowing  tribute  to  Zasu. 

When  the  waiter  brought  our 
check,  I  took  it  without  putting  up 
any  argument  that  it  was  really  Fan- 
ny's turn.  I  wanted  to  ingratiate 
myself  with  her  for  a  very  special 
reason.  I  had  read  in  the  papers  that 
Winnie  Lightner  was  coming  East 
for  the  opening  of  "Hold  Every- 
thing." 

"Will  you  take  me  to  meet  her?" 
I  asked. 

Fanny  smiled  noncommittally. 

"Dear,  dear,  do  you  still  believe 
what  you  read  in  the  papers  ?  I  know 
they  say  she  is  coming  here  for  the 
big  opening,  but  as  a  matter  of  fact 
Miss  Lightner  wouldn't  be  caught 
dead  at  any  opening.  They  make  her 
nervous.  And,  anyway,  she  has  just 
started  a  picture  out  West." 

Oh,  well,  I  hope  Fanny  is  wrong. 
I'll  keep  working  to  ingratiate  myself 
with  her  on  the  chance  that  she  is. 


Tke  Stars  Hit  Back 

Continued  from  page  67 


"Another  erroneous  idea  conveyed 
was  that  Mr.  Willat  came  home  ex- 
pecting to  spend  Christmas  with  me, 
and  that  I  walked  out  and  left  him  to 
pass  the  holidays  in  lonely  solitude. 
That  is  not  true,  either.  He  had  been 
in  the  East  directing  a  picture,  and 
wre  had  been  separated  for  several 
months  before  his  departure  for  New 
York,  but  had  not  told  the  public 
about  it.  When  he  finished  his  pic- 
ture there,  he  signed  to  direct  one  in 
Europe.  He  had  to  come  back  to 
Hollywood  for  a  few  days  to 
straighten  out  some  of  his  affairs,  and 
it  just  happened  that  the  only  time 
he  could  come  was  during  the  holi- 
days. As  I  said,  we  had  separated 
long  before  he  left,  and  he  came  back 
without  the  slightest  idea  of  seeing 
me." 

When  Billie  looks  at  you  out  of 
those  enormous  hazel  eyes,  you  know 
before  she  speaks  that  the  answer  is 
"yes,"  even  if  she  asked  you  to  make 
a  stab  at  getting  the  moon  for  her, 
let  alone  gratifying  such  a  simple  re- 
quest as.  "Will  you  try  to  make 
people  understand  these  things  for 
me  ?" 

Olive  Borden,  at  the  beginning  of 


her  career,  found  herself  the  target 
for  a  clever  interviewer's  biting  sar- 
casm. She  had  been  in  pictures  only 
a  year  at  the  time,  she  states,  and  was 
in  New  York  for  the  first  time  on 
the  wray  to  Florida  for  "The  Joy 
Girl."  The  studio  arranged  the  ap- 
pointment and,  through  some  fluke, 
made  two  engagements  for  the  same 
time.  The  gentleman  in  question  ar- 
rived a  few  minutes  after  the  first 
interviewer  had  put  in  an  appearance, 
and  became  quite  indignant  when  he 
found  he  did  not  have  the  field  to 
himself  and  that,  in  addition,  Olive's 
mother  was  chaperoning  the  party. 

Olive  was  clad  in  one  of  the  flow- 
ing negligees  she  affected  at  that  time, 
having  expected  only  the  woman  at 
that  hour  and  the  man  an  hour  later. 

The  negligee  fell  apart,  revealing 
Olive's  knees  and  legs  and  the  scribe 
found  little  to  comment  on  besides 
those  and  the  chaperonage  of  her 
mother. 

Charlie  Morton  has  been  misrepre- 
sented about  as  often  as  any  one  in 
pictures.  Charlie  is  one  of  those 
trusting  souls  that  is  inclined  to  look 
upon  every  one  as  a  friend,  and  on 
a   couple   of   occasions,   at   least,   his 


109 


misplaced  confidence  has  plunged  him 
into  trouble. 

"One  time,"  says  Charlie,  "an  in- 
terviewer came  to  see  me  and  began 

asking  about  my  likes  and  dislike-.  1 
was  halt  kidding,  and  said  that  one 
of  my  pot  aversions  was  having  some 
cutthroat  agent  hold  up  a  cheek  oi 
mine.  When  the  interview  came  out 
he  had  reported  that  I  was  glad  to  be 
away  from  the  stage  and  the  cut- 
throats connected  with  it.  He  made 
it  sound  as  if  I  was  talking  about 
s  when,  really,  the  only  friends 
I  have  are  actors. 

"Not  content  with  that,  he  said 
that  I  was  always  going  out  with  a 
new  girl,  and  when  I  got  tired  of 
them,  or  thought  they  were  begin- 
ning to  take  me  seriously,  I  cut  'em 
out  and  let  them  think  what  they 
pleased  of  me.  Well,  I'm  not  con- 
ceited enough  to  think  I  can  get  any 
girl  I  want.  If  I  fall  in  love  with  a 
girl,  and  happen  to  be  lucky  enough 
to  have  her  care  for  me,  well.  I'm  go- 
ing to  go  with  her  as  long  as  I  please, 
regardless  of  what  the  studio,  or  any 
one  else.  sa\  - 

ther  chap  came  to  see  me 
when  I  had  a  black  eye  from  playing 
handball  at  the  'Y.'  He  wrote  all 
-  of  things  in  the  article,  hinting 
that  I  had  been  in  a  scrap.  I've  been 
in  plenty  of  scraps,  but  I  didn't  hap- 
pen to  get  my  black  eye  that  way. 

"Then  he  asked  me  to  take  him 
through  the  house,  which  I  did.  Jim- 
mie  Hall  and  a  bunch  of  fellows  had 
lived  in  the  place  before  me.  and 
there  was  one  room  rather  dark  and 
fixed  up  sort  of  Turkish.  When  we 
got  to  this  room,  the  chap  raised  his 
eyebrows  in  a  questioning  way  and  I 
jokingly  said.  'Oh.  yes.  Sure.'  So 
he  wrote  in  the  story  that  I  had  called 
it  my  'yes-room.' 

"But  what's  the  use  of  going  on 
with  all  this?  If  people  like  you.  they 
believe  good  things  about  you.  and  if 
they  don't  like  you.  they  believe  what 
they  want  to,  anyhow." 

This  business  of  interviewing  and 
being  interviewed  is  peculiar  at  best. 
Many  players  have  just  complaints 
but.  on  the  other  hand,  many  of  the 
things  they  have  told  you  in  this  arti- 
cle are  not  true.  I  know  that  on  oc- 
casion players  have  assumed  an  arro- 
gant, high-handed  attitude  toward 
writers,  and  then  become  terrified 
when  the  interview  appeared  in  print, 
and  grabbed  at  any  sort  of  straw  in 
an  endeavor  to  set  themselves  right 
with  the  public. 

The  case  for  the  defense  is  < 
and  you,  as  judge  and  jury,  must  de- 
cide for  yourselves  whether  they  are 
innocent  or  guilty   of   the  things  of 
which  they  have  been  accused. 


FOOD  FOR  THE  FAT 


TWO  GRAINS  OF 

GLAND  FOOD  DAILY 
THEN  THE  FOODS 
YOU  LOVE 

TAT   people,  of  COtirte,   should 
not    ovii-e.it.     They    i.iul\     do. 

Hut  starvation  is  a  very  risky 
way  to  reduce. 

Modem  science  finds  that  a 
common  cause  of  excess  far  lies 
in  an  under-active  gland.  That 

fland  largely  controls  nutrition, 
'eople  grow  fat  when  its  secre- 
tions are  scanty,  despite  all 
exercise  and  diet. 

So  physicians  everywhere,  in 
treating  obesity,  now  feed  a  cer- 
tain gland  food.  They  combat 
the  cause.  The  results  are  amaz- 
ing, and  they  come  in  the  right 
way. 

A  famous  medical  laboratory 
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ple have  used  them  for  22  years 
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can  see  the  results  on  every 
hand.  Excess  fat  is  far  less  com- 
mon than  twenty  years  ago. 

The  Marmola  prescription  is 
not  secret.  The  formula  is  stated 
in  every  box.  All  the  good  results 
are  explained.  So  users  know 


why  the  Beth  reduction  brings 
such  extra  health  and  vigor. 
No  abnormal  exercise  or  diet. 

Simply   take   four  tablets  daily 

until  you  reach  the  weight 

desired.  Then  you  will  know 
that  the  cause  is  corrected.  An 
abnormal  condition  has  been 
changed. 

Try  Marmola.  It  has  served 
so  many  for  so  long  that  you  ■  i 
this  to  yourself.  Watch  the  new 
youth  and  beauty  as  it  comes, 
the  new  health  and  vigor.  Then 
tell  your  friends.  Go  start  today. 

Marmola  prescription  tablets  are  sold  by 
all  druggists  at  $1  a  box.  Any  druggist 
who  is   out  will    gladly  order  (or  you. 

MARMOLA 

PRESCRIPTION  TABLETS 
The  Pleasant  Way  to  Reduce 


As  Thrilling  As 
Your  First  Parachute  Jump 

HPH Histories  in  this  magazine  are 
as  modern  as  television.  ITiey 
move  with  the  speed  of  a  racing 
plane.  Everything  that  furnishes  a 
real  thrill  is  in  the  explosive  bunch 
of    stories    found    in    each     issue    of 


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The  Delaware  Delilah 

Continued  from  page  34 


Estelle  Taylor  was  a  memorable 
Lucresia  Borgia,  in  the  Barn-more 
idea  of  "Don  Juan."  In  "Where 
East  is  East,"  she  achieved  a  genuine 
characterization.  In  minor  pictures 
she  has  always  served  to  vitalize  the 
action,  to  lend  a  glow  to  the  drama. 
It  is  this  quality  that  makes  her  a 
fascinating  personality.  She  has 
drive  and  gusto  and  that  esoteric  es- 
sence that  I  choose  to  call  wallop. 

It  has  been  a  source  of  conjecture 
why  she  works  so  seldom,  why  she 
has  encountered  so  few  opportunities 
to  act  in  good  pictures.  "There  are 
two  reasons,"  she  advanced.  "First, 
I  must  be  cast  in  heavy,  or  unsym- 
pathetic roles.  I  don't  look  innocent 
and  girlish  enough  to  be  the  heroine, 
thank  God,  so  I  am  considered  only 
for  wanton  women.  Second,  and 
more  important,  when  I  do  get  such 
a  role  I  register  too  strongly,  unbal- 
ancing the  picture.  So  there  you  are. 
And  here  am  I — bro-ken-hear-ted, 
practically. 

"There  aren't  many  stories  written 
around  the  bad  girls.  After  'The 
Shanghai  Gesture,'  what  would  you 
mention?  And  Will  Hays  wouldn't 
care  for  that." 

Moreover,  one  might  add.  stars  do 
not  like  the  heavy  to  walk  away  with 
the  picture.  This  very  fact  made 
stars  of  Bancroft  and  Powell,  two 
evil  fellows  who  made  wickedness  so 
appealing. 

"I  tried  virtue  once,"  said  Estelle, 
with  a  wry  grimace.  "When  we 
played  'The  Big  Fight.'  I  was  a  good 
girl  in  that.  And  it  was  a  very  bad 
play.  And  may  such  a  thing  never, 
never  happen  again.  Of  course  the 
idea  was  silly.  Jack  Dempsey  is  a 
personality  and  I  am  an  actress. 
Putting  us  on  the  same  stage  was 
ridiculous.  Some  one  had  an  idea  it 
would  be  highly  lucrative,  and  I  think 
thev  went  bankrupt  trying  to  prove 
the'  theory." 

Estelle    is    not    an    idealist,    nor    a 


dreamer.  She  is  a  practical  young 
woman  with  excellent  sense.  Her 
throaty  voice  lifts  her  utterances 
above  the  matter-of-fact,  but  sober 
reflection  brings  realization  that  they 
are  matter-of-fact,  after  all.  She  is 
not  witty  in  her  conversation,  but  she 
is  never  dull.  And  her  magnetism 
compares  not  unfavorably  with  that 
of  Greta  Garbo. 

Second  only  to  Garbo  is  Taylor  as 
a  screen  siren.  There  is  no  one  in 
Hollywood  who  ranks  with  this  de- 
vastating duo.  They  are  smoldering 
sisters  in  cinematic  sin.  The  Scandi- 
navian flame  and  the  Delaware  De- 
lilah combine  to  make  a  bonfire  of  no 
mean  proportions. 

"You've  met  Lupe  Velez,  haven't 
you?"  asked  Estelle.  "I  can  see  by 
your  expression  that  you  didn't  like 
her.  Well,  she's  a  definite  creature, 
and  you  either  think  she's  amazing, 
or  else — in  'Where  East  Is  East'  we 
had  fun.  I  played  her  stepmother, 
you  know.  A  droll  idea.  She's  irre- 
sponsible, irrepressible,  but  delightful 
when  you  know  her." 

Talking  about  Lupe  led  us  to  speak 
of  publicity,  good  and  bad.  Estelle 
said  that  she  thought  it  a  distinctly 
overrated  institution,  which  it  un- 
doubtedly is.  "Do  a  couple  of  good 
pictures  every  year  and  you  will  be 
remembered,"  said  Estelle  sagely. 
"Going  to  premieres,  making  radio 
speeches  and  indorsing  hair  oil  won't 
help  any  career. 

"Right  now  I'm  eager  to  bid  fare- 
well to  vaudeville  and  its  continuous 
performances.  I  want  to  go  back  to 
Hollywood  and  do  a  talkie." 

John  Barrymore  and  others  have 
said  that  Estelle  Taylor  is  capable  of 
doing  important  things  on  the  screen. 
They  are  justified  in  making  such  a 
statement.  The  screen  can  boast  of 
only  a  handful  of  colorful  personali- 
ties, and  the  lovely  Estelle  is  among 
them.  Ask  me  and  I  will  say  that 
she  is  one  of  the  three  most  colorful ! 


EDUCATIONAL 

Pray  take  a  tip  from  Gilda  Grant 
When  high-toned  speech  you'd  vaunt ; 
With  her  there's  no  such  word  as  "can't." 
She  always  says,  "I  cawn't." 

In  boudoir  scenes  Alicia  Bowers 

Beside  a  chair  will  pause 

And  tell  a  maid,  "Please  place  the  flowers 

Within  that  Grecian  vawse." 

Then  there  is  stately  Myrna  Pratt, 
Whose  English  is  so  pure ; 
She  likes  to  say.  "Now,  fawncy  that !" 
And,  "Oh,  I'm  chawmed,  I'm  sure." 

L.  B.  Birdsall. 


Ill 


Pewter  And   Old   Lace 

Continued  from  page  56 


came  down  to  Bebe  through  her  ma- 
ternal grandmother,  Eva  IV  La  Plaza 
Griffin.  Less  picturesque,  but  equally 
dangerous,  is  the  sword  oi  a  Revolu- 
tionary War  ancestor  which  Mason 
Hopper  exhibits. 

Naturally,  one  runs  across  many 
odd  pieces  of  jewelry.  Such  adorn- 
ments invariably  are  treasured,  he- 
cause  of  the  sentiment  attached  to 
them  as  much  as  for  their  intrinsic 
value.  Lilyan  Tashman  exercises  the 
most  taste  and  imagination  in  trans- 
forming these  antiques  into  modern 
costume  trinkets,  without  loss  oi  their 
original  charm.  A  pair  of  heavy  gold 
earrings  made  into  drops  which  al- 
most touch  her  shoulders,  and  which 
bear  a  Russian  coat  of  arms  worked 
in  colors,  are  four  generations  old. 
She  wears  a  Chinese  medallion  on  a 
turquoise  necklace. 

Most  oi  Ivan  Lebedeff's  heirlooms 
were  lost  during  the  Russian  revolu- 
tions. A  pigeon-blood  ruby  of  five 
carats,  on  the  reverse  side  of  which 
is  a  magnificently  carved  head  of 
Alexander  the  Great,  always  arouses 
curiosity.  The  actor  wears  a  school 
ring,  and  another  made  of  steel  and 
mounted  in  gold. 

Hugh  Trevor  has  a  ring  given  to 
his  grandfather  by  his  English  sov- 
ereign. A  wide,  gold  bracelet  and  a 
locket  and  chain,  which  her  great- 
great-grandmother  wore,  nestle  in 
June  Collyer's  jewel  case.  Carmel 
Myers  has  an  unusual  brooch  of  ame- 
thysts in  the  shape  of  a  clover  leaf, 
once  her  great-grandmother's,  while 
Sharon  Lynn  sometimes  wears  an 
emerald  brooch  that  has  adorned  sev- 
eral generations  of  beauty.  Helen 
Kaiser's  garnet  necklace  is  two  hun- 
dred years  old.  Betty  Compson 
treasures  her  grandmother's  locket. 

George  Fawcett  had  his  mother's 
jewelry,  a  diamond  cluster  ring  and 
ear  pendants,  made  over  for  his  wife. 
Joel  McCrea's  gold  ring  with  garnet 
setting  has  been  handed  down  to  the 
eldest  son  on  his  twenty-first  birth- 
day for  four  generations.  Sally 
Blane's  share  of  the  family  jewels 
n  amethyst  ring  and  a 
diamond   cluster. 

Pretend  that  the  magic  carpet  has 
wafted  you  to  Hollywood.  Wrap 
around  you  Marie  Dressler's  Paisley 


shawl,  which  her  great-grandmother 

won-  to  "socials,"  or  tin-  white-silk 
shawl  which  June  Collyer's  grand- 
father's mother  brought  from  lie- 
land.      Perhaps    Dorothy    Sebastian 

will  let  you  dress  up  in  the  lace  veil 
which  every  bride  in  her  family  has 
n  during  the  last  one  hundred  and 
fift\ 

It  you  are  very  careful.  Louise  Fa- 
zenda  will  let  you  pirouette  around 
the  room  with  her  Italian  fan.  hand- 
painted  with  scenes  of  Florence,  with 
ivory  handles.  Its  history  is  inter- 
g.  One  of  Louisa's  Forefathers 
entertained  Napoleon  with  a  garden 
party  in  Venice — the  house  which  he 
occupied  is  now  an  orphanage — and 
the  tan  was  carried  to  this  event  by 
a  princess.  During  the  masquerade 
festivities,  Louise's  ancestor  flirted 
with  the  lady  and  secured  her  fan. 
not  until  later  in  the  evening  discov- 
ering her   identity. 

Though  not  heirlooms,  some  other 
odd  things  are  treasured  because  of 
sentimental  associations.  Joan  Craw- 
ford. Jobyna  Ralston,  and  Bebe  Dan- 
iels keep  the  numerous  silver  trophy 
cups  won  in  dancing  contests.  Phil- 
lips Holmes  wouldn't  part  with  the 
rapier  which  his  father,  Taylor 
Holmes,  used  in  his  first  stage  ap- 
pearance, nor  would  Alexander  Gray 
give  up  the  sword  that  he  carried  in 
the  stage  presentation  of  "The  Des- 
ert Song."  which  brought  him  singing 
success  and  a  movie  contract.  Laura 
La  Plante's  helmet,  presented  by  the 
ex-service  men  who  worked  in  "  Find- 
ers Keepers"  with  her,  bears  an  in- 
scription, "In  token  of  appreciation 
of  a  true  soldier,"  from  Hollywood 
Post  of  the  American  Legion. 

Articles  of  apparel  sentimentally 
linked  with  the  inauspicious  start  of 
careers  now  successful  are  lovingly 
retained;  a  pair  of  gunboat  shoes, 
relics  of  Chaplin's  early  comedy 
days,  the  "wrapper"  in  which  Wally 
Beery  impersonated  a  Swedish  ho 
maid  for  an  Essanay  comedy.  Lupe 
Velez's  first  castanets,  the  scuffed 
-  in  which  Mary  Brian  trod  the 
valks  from  one  studio  to  another. 
looking  for  work,  and  th< 
awarded  Clara  Bow  for  winning  a 
beauty  contest.  In  a  plush-lined  box 
lie  the  famous  Pickford  curls. 


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A  Womanly 
fORMf 


Janet — As  She  Is 

Continued  from  page  74 


Ultra 
Parisienne 
Method/ 


\ ,    more   lagging,    dabby 
M     home   ti  Batmen! 

«ill    qulckl;    tltc    you    a    full 
firm  b  I  thou- 

caullful  feminine  form.      Ugly,   lagging 
ip  ill       Ion  of  my  rich. 
PRESCRIPTION    CREAM    end    ee 

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time   offer. 
853   Broadway. 


was  his  contention  that  one  person's 
life  was  too  short  to  include  all  the 
sensations  and  experiences  possible — 
the  only  way  of  finding  out  about  all 
of  them  being  in  hooks. 

In  manner  she  is  gentle.  Her  voice 
is  never  strident.  She  is  easily  moved 
to  excitement  and  enthusiasm,  but 
never  noisily.  Well-bred  and  well- 
mannered,  she  has  innate  dignity. 
She  still  has  moments  of  diffidence, 
but  can  now  hold  her  own  in  spite  of 
this.  She  is  delightfully  eager,  and 
talks  as  much  with  her  hands  as  her 
voice — unstudied,  spontaneous  ges- 
tures without  which  she  could  not 
wholly  express  her  meaning. 

Incongruously,  she  adores  jazz. 
The  rhythm  of  syncopation,  of  Negro 
spirituals  and  even  of  Russian  and 
Hawaiian  music,  arouse  in  her  a  ne- 
cessity for  activity.  She  has  danced, 
willy  nilly,  all  her  life.  Frequently 
she  plays  her  favorite  records — -very 
blue  ones — and  goes  crazy  across  the 
floor,  a  diminutive  dervish  of  jazz. 
Yet  to  do  this  in  the  presence  of  any 
one  but  her  husband  or  her  mother 
renders  her  self-conscious. 

She  has  a  deep  understanding  of 
beauty,  whether  in  color,  line,  or 
sound,  and  thinks  there  is  too  little 
emphasis  on  its  importance  in  Ameri- 
can life.  Deploring  the  sophistication 
and  hardness  of  modern  children, 
she  vows  that,  when  she  is  a  mother 
some  day,  her  offspring  will  be  reared 
in  an  atmosphere  of  beauty  and  of 
credence  in  the  lovely  mystery  of 
Hans  Christian  Andersen,  Grimm, 
et  al. 

One  of  her  ambitions  is  to  do 
"Alice  in  Wonderland"  on  the  screen, 
along  with  Dan  Totheroh's  "Wild 
Birds,"  and  "Prunella,"  done  by  Mar- 
guerite Clark  years  ago.  She  feels 
ill  at  ease  in  "straight"  roles,  con- 
scious that  many  do  them  far  better, 
girls  who  can  wear  smart  clothes 
smartly  and  who  are  prettier.  In  her 
own  field  she  is  confident  of  herself. 
She  likes  to  experiment  occasionally, 
as  in  "Sunny  Side  Up,"  but  only  at 
intervals. 

Her  speaking  voice  has  occasioned 
much  discussion.  Untrained,  it  is, 
however,  a  logical  continuance  of  the 
Gaynor  illusion.  Breathless,  slightly 
uncertain     of     pitch,     and     eager,     it 


would  be  folly  to  "place"  or  other- 
wise alter  it.  Since  she  is  naturally 
quick  and  adaptable,  a  brief  training 
in  the  delivery  of  lines  to  their  best 
advantage  should  be  all  that  is  neces- 
sary. She  marvels  at  the  skill  of 
William  Collier,  Sr.,  in  making  a  line 
poignant  yet  effortless. 

Janet's  husband,  Lydell  Peck,  was 
formerly  an  attorney,  the  routine  of 
which  profession  he  disliked  and  has 
recently  abandoned.  Possessor  of  a 
facile  mind,  he  is  now  in  the  editorial 
department  at  the  Paramount  studio, 
preparatory  to  deciding  exactly  what 
field  of  activity  he  is  best  fitted  for. 

The  youthful  Pecks  live  in  a  com- 
fortable, unpretentious  house  in  Bev- 
erly Hills.  Janet  is  bored  by  display. 
Their  life  is  full  and  amusing,  but 
never  ostentatious.  The  renowned 
Miss  Gaynor  wears  sweaters  and 
skirts,  or  very  simple  frocks.  She 
looks  at  sleekly  groomed  women  with 
aesthetic  pleasure  and  secret  despair. 
Her  own  red-brown  hair  is  a  mass  of 
unruly  curls,  she  has  freckles  and  pink 
cheeks  rather  than  a  camellia  pallor, 
and  she  never  can  remember  to  buy 
accessories  to  match  each  outfit.  And 
on  leaving  the  house  she  usually  for- 
gets her  purse  or  gloves,  or  handker- 
chief. 

She  likes  the  verse  of  Edna  St. 
Vincent  Millay,  Earl  Burtnett's  or- 
chestra, South  Sea  Island  costumes, 
sleeping  until  noon,  impressionistic 
sets,  books  of  legends  with  exotic  il- 
lustrations, Helen  Morgan's  "Ap- 
plause," particularly  Joan  Peers'  per- 
formance, Paul  Whiteman's  phono- 
graph records,  and  boats. 

To  strangers  prepared  for  a  Holly- 
wood ingenue  she  comes  as  a  shock. 
She  is  a  grand  person. 

P.  S.  My  dear  Mr.  Fox,  has  it 
ever  occurred  to  you  that  in  your 
organization  is  the  perfect  Juliet? 
And  I'll  have  none  of  your  tiresome 
objections  to  costume  pictures.  If 
you  think  the  public  wouldn't  stam- 
pede to  see  Janet  Gaynor  as  the  first 
convincing  Juliet  on  the  screen, 
you're  crazy.  And  I  know  you're 
not  crazy,  dear  Mr.  Fox.  As  a  per- 
sonal favor,  I'm  asking  for  an  im- 
mediate production  of  "Romeo  and 
Juliet,"  and  I  warn  you  I  am  un- 
pleasant when  crossed. 


COMPETITION 

The  talkies  haven't  made  a  hit 
With  gabby  Annie  Stroud  ; 

She  likes  the  kind  where  she  can  sit 
And  read  the  words  out  loud. 

L.   B.   BlRDSALL. 


11.5 


SucK   Men   Get   There 
v    stunted  from  page  28 

The  fact  that  Bob  was  playing  in 
"Possession"  was  duo  solely  to  his 
own  sportsmanship.  This  same  pro- 
ducer was  putting  OH  a  play  called 
"The  Garden  oi  Eden."  lie  wanted 
a  certain  actor  for  the  lead,  .vho  wa- 
in another  play  at  the  time  and 
couldn't  get  away   for  two  weeks. 

The    producer    appealed    to    Bob. 
S    :e.  I'll  play  it  for  you  during  the 
try-out."  said   Bob.     And  he  learned 
the  part  and  played  those  two  nerve- 
racking  weeks  of  breaking  in. 

When  the  two  weeks  were  up  the 
producer  thanked  him  and  said. 
"You've  been  mighty  decent  about 
this  and  you've  given  a  darned  good 
performance.  I  won't  forget  you." 
And  he  didn't. 

Neither  does  Boh  tell  you  that  he 
is  always  ready  to  lend'  a  helping 
hand  to  some  one  not  quite  so  for- 
tunate as  himself.  I  know  oi  two 
-ions  when  he  has  gone  to  the 
hat  for  a  chap  at  the  studio  who  he- 
friended  him  when  he  fust  came  out 
here,  hecause  he  didn't  feel  that  this 
other  actor  was  getting  the  hreaks  he 
was  entitled  to.  And  on  another  oc- 
casion he  phoned  to  ask  me  for  the 
address  of  a  former  juvenile  who  has 
been  unable  to  get  started  since  the 
talkies  came  in.  thinking  that  he — 
Bob — might  be  able  to  do  something 
for  the  chap. 

Xor  does  he  tell  you  that  he  hasn't 
had  such  an  easy  time  of  it  himself. 
His  first  ambition  was  to  be  a  writer. 
He  wrote  and  wrote  and  wrote,  with- 
out selling  anything.  Deciding  that 
his  stories  needed  more  color,  he 
shipped  on  fruit  liners  and  tramp 
steamers,  which  broadened  his  knowl- 
edge, but  did  not  increase  the  demand 
for  his  writing. 

Concluding  that  he  had  starved 
long  enough  for  art's  sweet  sake,  and 
that  he  would  leave  the  field  of  1. 
to  Shakespeare  and  Zane  Grey,  he 
turned  to  the  world  of  grease  paint 
and  yes-men — the  movies. 

He  tramped  the  Hollywood  boule- 
vards from  Melrose  to  Cahuenga 
5S,  and  the  only  job  he  found  was 
doubling  for  a  feminine  star  in  a  dan- 
gerous stunt.  But  it  paid  him  enough 
to  enable  him  to  get  back  to  New 
'-:,  and  he  found  the  theater  kinder 
than  editors  had  been. 

little  things  like  these  that  the 
world  at  large  doesn't  always  hear 
about,  but  which  writers  are  paid  to 
dig  up.  that  makes  them  say.  when 
you  find  a  group  of  them.  "A  great 
guy,  Montgomery ;  he's  there  with 
the  goods,  and  he  deserves  everything 
he  gets.  Let's  give  the  boy  a  great 
big  hand.'" 


BLONDRS  .  .  .  read  how  famous 

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says  Jcancttc  Loff,  lovely  Uim  i  i  1  tar. 
"Blondex  quickly  brings  back  the  true 
color  and  lustrous  sheen  to  light  hair 
that  has  faded  or  streaked,"  says  Mary 
Nolan,  beautiful  star, also withUniversal. 

Don't  let  your  blonde  hair  grow  dark 
and  lustreless — keep  it  bright  aiul  lovely 
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Blondex  issa/e/  Contains 
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Don't  Miss 

The 
Flame 

of 
Desire 


Beginning  in  the  June 

I  7th  issue  of  Love  Story 

Magazine     and     running 

I  all  through  the  month. 

a 

A   delightful    serial    of 

I  love  and  adventure  in  the 

I  South    Seas.      A    pearl 

|  hunt,  the  kidnaping  of  a 

j  rich    American    girl    and 

I  her  rescue  by  a  cave-man 

I  lover  are  just  a  few  of  the 

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Love  Story 

Magazine 


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Every  Week 


As  The)?  See  Themselves 

Continued  from  page  86 


Russell  Gleason  considers  flying 
the  most  fascinating  thing  he  has 
learned  from  his  labor.  Natalie 
Moorhead  selects  discipline  as  her 
most  beneficial  acquisition.  Seeing 
herself  daily  in  this  revealing  mirror 
is  a  reminder  to  Alice  White  of  her 
inclination  to  take  on  weight,  a  Neme- 
sis goading  her  to  diet  and  exercise. 
Acting  has  taught  Billie  Dove  the 
value  of  beauty  and  its  conservation,, 
while  the  French  studied  for  a  talkie 
makes  her  feel  that  she  has  pro- 
gressed another  step. 

Until  she  came  to  Hollywood,  Lil- 
lian Roth  was  forced  to  take  medi- 
cine to  quiet  her  nerves.  One  month 
around  the  studio  gave  her  extreme 
patience.  You  become  either  patient 
or  crazy. 

Betty  Compson  analyzed  the  sub- 
ject a  bit  more  deeply  than  these 
superficial  benefits.  "My  screen  char- 
acters have  taught  me  truths  which 
I  have  often  applied  to  my  own  life. 
In  studying  a  script,  we  must  be  im- 


pressed by  the  characters'  traits. 
They  are  real  to  us,  whatever  they 
may  be  to  the  audience !  We  are  in- 
troduced to  a  variety  of  people,  un- 
der many  circumstances — oftentimes 
farcical  and  farfetched,  but  fre- 
quently in  lifelike  situations.  Al- 
most always,  particularly  since  speech 
has  brought  to  the  screen  less  stereo- 
typed characters,  they  are  interesting. 

"The  main  lesson  I  have  learned 
from  them  has  been  that  an  accep- 
tance of  the  conditions  imposed  by 
life  and  a  spirit  of  cooperation  in  all 
dealings  bring  the  greatest  happiness. 
Most  of  the  troubles  that  came  to 
the  screen  Betty  Compson  resulted 
from  apathy  and  stubborn  pride ;  I 
began  to  see  similar  circumstances  re- 
flected in  my  own  life.  More  than 
once,  I  have  taken  a  tip  from  the 
shadow  me,  and  have  done  what  I 
had  done  previously  in  a  picture." 

This  the  players  learn  from  their 
shadows :  to  be  charming,  graceful, 
and  talented. 


In  The  Springtime 

Continued  from  page  53 


handsome — handsomer  than  Valen- 
tino was  on  the  screen.  Finally  he 
came  over  to  our  table  and  placed 
an  envelope  before  me. 

"  'Pardon  me,  mademoiselle,'  he 
said,  'do  not  feel  offended.  I  am 
leaving  this  envelope  with  you.  Do 
not  open  it,  until  I  am  out  of  sight.' 

"As  soon  as  he  was  gone,  I  opened 
it  and" — here  Yola's  eyes  lighted  up 
with  fond  recollection — "there  was  a 
sum  of  money  equal  to  five  hundred 
dollars !  Also  a  note,  which  said,  'I 
know  you  and  the  company  want  to 
get  back  to  Paris.  Take  this  and  may 
good  fortune  follow  you  always  in 
your  career.'  " 

Yola  breathed  deeply. 

"That  made  me  cry.  It  was  such 
a  wonderful  thing  for  a  complete 
stranger  to  do.  He  did  not  even 
leave  his  name." 

A  retrospective  look  spread  over 
Yola's  face  as  she  said,  "I  should  like 
that  young  man  to  see  me  on  the 
screen  in  a  big  role  and  to  know  that 
I  have  always  remembered  his  kind 
act." 

If  this  young  Portuguese  knight  is 
a  fan,  he  may  soon  see  Yola,  for  she 
is  gradually  coming  to  the  fore. 

She  is  keenly  intelligent.  She 
wants  to  write.  In  fact  she  does,  for 
her  own  amusement.  She  loves  Rus- 
sian music  and  caviar,  swimming, 
horseback  riding  and,  of  course,  danc- 
ing. 


There  is  something  somber  and 
profound  in  her  which  might  explain 
her  fondness  for  things  Muscovite. 
She  is,  at  present,  even  engaged  to  a 
young  Russian  actor,  Gregory  Gay, 
who  plays  in  Gloria  Swanson's  new 
picture. 

One  moment  she  is  deeply  sophisti- 
cated ;  then  she  becomes  naive,  like  a. 
child. 

She  roundly  denounced  me  for 
reading  a  voluminous  work  by  the 
great  Eliphas  Levi,  the  French  ma- 
gician. 

"The  church  forbids  any  dabbling 
in  magic,"  Yola  warned.  "I'll  come 
again  and  see  you  floating  in  the  air, 
chairs  and  tables  jumping  about." 

Even  when  I  assured  her  that 
Levi's  work  taught  no  such  thing,  she 
hardly  believed  me.  All  the  same  I 
promised  to  give  up  any  study  that 
would  enable  me  to  float  with  the 
furniture  in  the  air. 

Yet,  after  drinking  her  tea,  Yola 
inverted  the  cup  and  asked  me  to  tell 
her  fortune. 

Occult  knowledge  gleaned  from 
Eliphas  Levi  came  to  my  aid.  The 
tea  leaves  foretold  splendid  things. 

My  friend,  Fifi  Dorsay,  is  well 
termed  an  unfolded  revelation.  I  do 
not  exaggerate  when  I  say  that  Yola 
d'Avril  is  an  unfolding  sensation. 

Yola  is  likely  to  burst  forth  into 
bloom  at  any  moment  now,  so  keep 
a  sharp  lookout. 


The   MoVie   Racket 

ntanucd   from  i>.i.l:i    W 


ing  gown  and  ropes  of  pearls. 
"You're  a  perfect  roughneck  typo, 
and  1  knock  'cm  tor  a  row  of  con- 
tracts with  the  way  1  put  over  your 
s  in  your  first  picture,  so  they 
dress  you  up  in  la-de-da  clothes  and 
try  to  shove  you  into  the  hole  Pa- 
tricia Wayne  will  leave  when  she 
jumps  to  Superba.  Well,  when  you 
come  hack  to  me  you'll  ride  around 
on  street  cars  for  a  few  days  and 
hang  out  at  the  penny  dance  halls, 
learning  to  remember  how  to  talk 
natural." 

It  didn't  seem  to  Monica  that  she 
was  getting  ahead  at  all.  She 
wanted  to  work  hard  and  tight  to 
ahead,  hut  all  she  could  do  was 
to  take  orders  and  wait.  Then  her 
first  picture  was  released,  shoved  out 
in  a  hurry  to  take  the  place  of  a 
more  pretentious  one  of  which  much 
had  heen  expected,  hut  which  had 
flopped  miserably  at  previews.  Cran- 
dall  had  done  his  work  well,  had  even 
cut  the  picture  himself — he  had 
started  as  a  cutter — and  Monica  easily 
outshone  the  star. 

She  couldn't  understand  it.  She 
could  not  feel  that  it  was  she  herself 
there  on  the  screen.  Her  face,  her 
voice,  were  those  of  an  utter  stranger. 

Booth  Carlisle  was  more  devoted 
than  ever.  He  was  working  in  the 
same  studio,  and  almost  daily  came  to 
tell  her  of  something  nice  some  one 
had  said,  or  to  bring  her  a  clipping 
which  spoke  of  her  as  one  of  the 
most  promising  newcomers  to  the 
screen. 

Monica  didn't  like  him,  but  she 
had  had  no  time  to  make  friends,  and 
it  was  nice  to  have  him  take  her  to 
dinner  sometimes,  when  she  wanted  a 
change  from  eating  at  home  with 
Bunny. 

One  night,  when  she  was  ex- 
hausted after  a  huge  scene  on  a  circus 
in  which  she  had  been  working 
all  day,  along  with  some  five  hundred 
other  people,  he  suggested  that  she 
dine  with  him  at  the  Montmartre. 

"I'd  like  to."  she  told  him.  "I'll 
id  company,  though,  I'm  so  tired. 
Did  rain  scenes  all  afternoon — I've 
n  drenched   for  hour-.'' 


"You  needn't  say  a  word;  just  let 
me  look  at  your  lo\ely  face."  he  told 
her.  with  his  hot   smile. 

She  turned  away,  then  turned  back 
to  glance  searchingly  about  the  set. 
She  had  that  feeling  that  some  one 

had  heen  watching  her.  that  com. 
all  of  us  at  times.  But  there  was  no 
one  about — only  the  herd  of  weary 
extras,  straggling  away  to  the  dress- 
ing rooms.  So  she  turned  again,  and 
dragged  away  to  take  a  shower  and 
change  her  clotl 

She. had  an  odd  feeling  of  depres- 
sion that  had  come  over  her  when 
she  took  that  last  look  about  the  Bet, 
and  refused  to  leave  her.  A  sort  of 
spooky  feeling,  as  if  had  news  were 
hovering  in  the  offing.  ( )h,  well,  she 
was  always  feeling  unhappy,  now  that 
she  never  saw  Danny  and  heard  noth- 
ing from  him.  If  only  he'd  come 
back,  and  they  could  talk  things  out ! 

She  rejoined  Carlisle,  and  he  took 
her  possessively  by  the  arm  as  they 
left  the  studio. 

"You're  so  sweet,  dear,  like  a  tired 
little  girl."  he  told  her.  and  then,  im- 
pulsively. "Oh.  Monica,  give  me  the 
right  to  take  care  of  you  always!" 

"Why— I "       Monica       began. 

amazed,  and  then  broke  off.  That 
tall  man  walking  off  toward  where 
the  extras'  cars  were  parked — could 
it  be — oh,  it  couldn't  be  Danny.  But 
it  was ! 

She  snatched  her  arm  from  Car- 
lisle's grasp,  and  began  to  run. 

"Danny!"  she  shouted.     "Danny!" 

The  man  began  to  walk  faster,  then 
to  run.  He  reached  a  car  at  the  end 
of  the  line,  jumped  in  and  started 
the  engine.  But  Monica  scrambled 
in  after  him  just  as  he  jerked  it  into 
gear. 

"Danny  darling."  she  cried,  clutch- 
ing his  arm  in  both  her  hands.  "Oh, 
Danny,  why  didn't  you  write  to  me? 
I've  heen  so  wretched  without  you — 
I've  wanted  you  so!  Danny — quick 
— say  that  you  still  love  me'" 

But  he  merely  sunk  his  chin  deeper 
in  his  collar  and  stared  straight  at 
the  street  down  which  he  was  driving 
so  reckle 

TO  IN  I  M). 


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The  Stroller 

Continued  from  page  51 


homes."  You  get  in  one  of  these  and 
the  driver  takes  you  through  Beverly 
I  Iills,  pointing  out  stars'  homes  with 
careless  abandon.  If  you  have  a 
favorite  star,  and  want  to  see  his 
home,  the  driver  is  not  one  to  dis- 
appoint you.  He  will  show  you  one 
of  the  finest  estates,  usually  the  E.  L. 
Doheny  home. 

This  careless  manner  of  his  has  re- 
sulted in  several  embarrassments.  He 
pointed  out  John  Gilbert's  home  and 
Jim  Tully  came  out  to  get  the  morn- 
ing paper. 

No  longer  is  there  any  rest  for 
the  weary. 

We  have  had  talking  sign-boards 
that  shouted  and  sang  to  the  passers- 
by.  The  law  sat  on  this,  and  the 
signs  became  silent  again. 

Radio  shops  blare  programs  to  the 
passing  mob,  auto  horns  toot,  news- 
boys yell,  street  cars  roar,  motion 
pictures  talk — and  now  even  the 
clouds  have  found  a  voice. 

At  first,  airplanes  with  colored 
lights  flew  overhead  at  night,  with 
sirens  shrilling,  advertising  pictures. 
Now  a  blimp  floats  over  with  a  tre- 
mendous loud-speaker  that  shatters 
the  air.  Lawrence  Tibbett  sings  over 
it.  The  pilot  shouts  to  his  friends 
on  the  Boulevard.  And  the  only  cure 
is  the  installation  of  anti-aircraft 
guns  on  the  tops  of  the  tallest  build- 
ings. A  collection  is  reputed  to  be 
under  way. 

With  screen  players  becoming 
more  cautious  in  talking  about  their 
contemporaries,  magazine  writers 
have  taken  to  interviewing  maids, 
valets,  beauty-parlor  specialists,  and 
manicurists. 

But  even  with  the  offer  of  gold 
the  manicurists  at  the  Hollywood 
Athletic  Club  have  refused  to  open 
up.  Apparently  their  tips  are  more 
than  the  offer. 


One  beauty  culturist  talked,  and 
all  her  patrons  left  her.  One  writer 
interviewed  a  Pullman  porter  and  got 
all  the  dope  on  stars,  how  much  they 
drank,  whether  the  gin  was  good,  and 
what  they  tipped.  A  magazine  bought 
it,  but  never  printed  it,  figuring  it 
was  too  hot. 

An  extra  girl  of  foreign  nationality 
was  arrested  recently  for  possessing 
a  map  of  one  of  the  fortresses  near 
here.  She  was  unable  to  explain  the 
charge,  due  largely  to  her  excitement, 
and  was  about  to  be  deported. 

She  finally  regained  her  composure 
enough  to  explain  that  the  diagram 
was  not  a  map  of  the  fort  at  all,  but 
was  a  chart  sent  her  by  a  correspond- 
ence school  of  dancing,  on  which  was 
marked  the  various  foot  movements 
of  a  hot  number.  She  was  freed,  but 
the  arresting  officer  kept  the  map,  for 
he,  too,  had  screen  ambitions. 

In  the  lobby  of  the  Chinese  Thea- 
ter are  squares  of  cement  bearing  the 
imprint  of  hands  and  feet  of  stars. 

These  are  the  real  thing,  for  they 
are  made  right  there  before  vast 
crowds  amid  great  ceremony. 

The  tourists  visit  the  theater  for 
an  eyeful,  and  to  compare  their  shoe 
sizes  to  the  stars. 

One  tourist  was  heard  to  inquire 
if  these  could  be  purchased.  A  hat- 
less  man  came  up  and  said  he  was  the 
theater  manager,  and  offered  to  sell 
them  for  $25  each. 

The  deal  was  closed.  Ten  minutes 
later  the  fan  returned  with  a  hammer 
and  chisel  and  started  to  loosen  the 
stone.  Whereupon  the  theater  man- 
ager, the  real  one  this  time,  rushed 
up  and  stopped  it.  He  still  doesn't 
believe  the  $25  stall. 

"The  fans  try  to  lift  everything 
they  can,  around  here,"  he  said. 
"They'd  take  the  whole  theater  home, 
if  they  could." 


What  The  Fans  Tnink 

Continued  from  page   12 


The    Test    of    Loyalty. 

Why  can't  some  fans  drop  this  grum- 
bling and  mud  slinging?  If  they  are  not 
quarreling  with  some  other  fan  over  a 
star,  they  are  grumbling  because  such  and 
such  a  star  failed  to  answer  their  letter 
and  send  a  photo  for  their  inclosed 
quarter. 

Alice  White,  Gary  Cooper,  and  nu- 
merous others  have  been  on  the  receiving 
end  of  some  nasty  remarks.  Doesn't  the 
knocker  realize  that  every  one  has  his 
favorite,  and  to  rail  another's  is  not  very 
honorable? 


I  think  there  is  no  one  just  like  Richard 
Arlen.  He  is  my  ideal,  and  I  don't  care 
if  any  one  likes  him  or  not.  They  can 
say  what  they  please  about  him,  and  he 
will  still  stand  ace  high  with  me.  If  I 
ever  write  to  him  and  never  get  a  letter 
or  photo,  do  you  suppose  I  would  say 
mean  things  about  him?  Why,  it  is  laugh- 
able to  think  I  could  injure  his  character, 
or  his  fan  following!  Any  one  who 
thinks  he  can  do  this  is  sadly  mistaken. 
Clifford  Westermeier. 

374  Cumberland  Avenue, 
Buffalo,  New  York. 


117 


The  Kind  of  Girl  for  Ramon. 

I  must  thank  Norbert  Lusk  lor  Ins  « 
dertul  review   oi   "Devil-May-Care"  and, 
incidentally,    I  atage    oi   hi> 

gestion    to    annihilate    Ramon    Novarroa 

detractors.  Not  that  they  arc  worth  an- 
nihilating, but  it  is  worse  than  deporable 
when  people  tail  to  appreciate  the  chivalry, 
nobility,  and  cleanness  oi  soul  which  are 
his. 

Greatly  as  I  admire  his  acting,  his  - 
looks,   fine   physique,   and    personal   charm, 
to    me    his    stainless    soul    transcends    all 
r   merits. 

I    cannot   conceive   how    any    one   could 

Devil-May-Care"   and   still  be   blind 

to  his   attractions.     He  gains  much   by  a 

colorful,     charmingly     accented,     speaking 

and  his   . 
agree  with    Mr.   Lu>k   that    Ramon's    • 
ing    seems    to    be    the    natural    expression 
of  his  thoughts.     [1  .  with  the 

lovely  clear  tone  which  Ramon  ha.-,  makes 
it  wholly  delightful:  as  he  sings,  his  eyes, 
face,  and  whole  body  respond  to  what  he 
aging.      His    is  e    of    which    I 

could  never  tire. 

Ramon's    polished    performance    as    Ar- 

mand  dc  TrivilU  is  the  essence  of  charm 

e  highest,   cleanest   order.     His   ex- 

-ons  as  he  sing-  the  song  about  King 

Louis  and  the  song  to  the  butler  must,  I 

think,  charm  the  most  cynical. 

Every  time  I  saw  this  film  people  com- 
mented on  his  lovely  voice. 

I    have    admired    Ramon,    and    Ramon 
ars.      His   influence   on 
my    life   has    been    boundless,    for,    uncon- 
sciously almost,  I  strive  to  be  the  kind  of 
girl  Ramon  would  admire.        R.  G.  \V. 

London,   X.   \V.   10.   England. 

Let   'em   Rave! 

My  indignation  is  aroused  by  some  of 
the  insulting  le'.ters  the  fans  write.  Many- 
do  give  interesting  views,  it  is  true,  but 
others,  through  jealousy  and  spite,  knock 
the  stars. 

I  would  like  to  hand  Gene  Charteris  a 
big  brickbat.  I  have  read  quite  a  num- 
ber of  his  letters  criticizing  different  stars, 
most'.  ->ersonal    appearance,    and    I 

have  my  opinion  of  him.  His  criticism 
of  Ramon  Xovarro  was  totally  untrue. 
Ramon  is  not  in  the  least  portly  or  self- 
sufficient.  I  thought  "The  Pagan''  a 
beautiful  picture,  and  Ramon  did  not  look 
the  least  bit  older  than  when  he  appeared 
in  "Where  the  Pavement  Ends."  His  act- 
ing is  better  than  in  his  first  pictures, 
though  some  of  the  stories  have  been  ter- 
rible and  quite  unsuitable   for  him. 

Also,  there  are  some  more  brickbats 
i.  Walters  and  Joan  Perula.  They 
have  come  to  the  conclusion  that  every- 
thing written  about  Xovarro  is  untrue,  be- 
cause he  is  so  different   from  what  a  film 


player    i-    supposed   to   be.     They   don't 

know  him  intimately,  and  can't  prove  any- 
thing. It  i>  all  nonsense  when  they  attrib- 
ute his  popularity   to  article-  written  about 

his  goodness,    People  don't  bother  whether 
an    actor    is    religious   or    not,    SO    lot 
his   acting    on    the    screen    pleases   them. 
Anyway,   thej    can   do   their    worst     N- 
true  [an  will  be  swayed  by  what  they  tay. 

E   S.  Foasv  i  n. 
Palmerston,  North. 
New  Zealand. 

Only   Flappers   Have   Fun? 

Although  I  am  longing  U>  sec  "Anna 
Christie,"  and  although  1  am  confident 
that  Greta  will  be  magnificent,  1  cannot 
help  regretting   her   incursion   into   sound. 

She  is  the  la.-t  of  the  great,  glamon.u- 
tilm  queens,  the  sole  remaining  empress  of 
make-believe,    and    somehow    it    suited    her 

e  silent.  The  white  magic  oi  her 
unreal,  exotic  presence  can  never  quite  be 
the  same  again;  that  vivid  shadow  of 
hers  may  gain  intimacy  with  sound,  but 
it  is  bound  to  lose  some  of  its  enchant- 
ment 
Why  do  I  like  Greta?     Because  she  is 

a  subtle  and  intelligent  actress,  because 
in  appearance  she  resembles  that  lovely, 
aristocratic  type  of  Englishwoman  only  to 
be  found  in  the  few  square  miles  that  is 
Mayfair — in  a  word,  she  is  well-bred, 
well  groomed,  and  full  of  allure:  because 
she  is  touched  with  glamour — oh,  Greta, 
stay   silent ! 

And  now  a  complaint.  Do  you  really 
believe  in  America  that  only  flappers  have 
fun?  Why  clutter  up  the  screen  with  in- 
competenl  nts  oi  both  sexes,  such 

as  William  Haines,  Anita  Page,  Sue 
Carol,  Rudy  Yallec,  and  Joan  Bennett  ? 
The  poor  creatures  are  utterly  pathetic, 
and  make  me  feel  quite  shy  when  they 
try  to  act. 

I  wish  Lupe  Velez  luck.  I  never  can 
make  out  whether  she's  an  actress  or  not, 
but  she's  immense  fun,  and  her  pranks 
make  highly  amusing  reading.  Please 
don't  tame  her  too  much  ! 

Leonora  de  Fubneaox. 

11A  Berkeley  Square, 
London,   England. 

Bill's   Big   Chance. 

Well,  well,  Bob  Allen,  bravo !  I,  and 
most  people  with  a  grain  of  common 
sense,  agree  with  you  that  Bill  Haines 
is  getting  to  be  a  dreadful  bore.  He  is 
good  in  his  way,  but  he  doesn't  weigh 
enough.  The  last  ten  pictures  I  have 
seen  him  in  were  identical,  except  for 
the  titles  and  the  wisecracks.  If  some 
one  doesn't  give  the  poor  boy  a  hand 
pretty  soon,  I  think  I  shall  begin  writing 
scenarios    for  him !     Iola  Robertshaw. 

Long  Beach,  California. 


Beatrice   Fairfax,   Please   Help! 

Continued  from  page  89 


friends  who  can  help  him,  has  been 
tenderer!  flattery,  importance,  wealth. 
It  has  gone  to  his  head,  and  he  has 
thought  of  his  girl  friend.  "Well, 
So-and-so  is  a  good  kid.  hut  after  all 
I  must  think  of  my  can 

Even  more  girls  than  men  1 
turned  the  cold  shoulder  on  their 
sweethearts  under  such  conditions. 
Alas  for  love  for  love's  sake  in  un- 
certain Hollywood!  It  sometimes 
works  out  with  a  career,  hut  not  in- 


frequently the  lover  is  forced  to 
choose  between  romance  and  a  film 
future. 

romance  may  run  out  111 
of   tl  rivers   f  out 

ificently  and  soon  lose  them- 
selves in   the  burning  Bands.      Holly- 
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ing  that.     So  have  Hollywood  CM 
Then  who's  going  to  tell  the  filmland 
couple  what  to  f! 


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The  Brand  of  |ij^£jj  Good  Books 

IMPULSIVE 
YOUTH 

By  Vivian  Grey 


She  was  rich.  And  he  was 
poor.  She  gave  him  up  because 
she  didn't  want  to  break  his 
mother's  heart,  the  heart  of  the 
woman  who  had  saved  and 
scrimped  so  that  he  might  go  to 
college  and  get  away  from  the 
manual  labor  that  seemed  des- 
tined for  him. 

It  was  an  impulsive  act,  the 
sort  of  thing  she  was  always  do- 
ing, for  at  the  start  she  had  acted 
on  impulse  when  she  left  her 
luxurious  home  to  cast  in  her  lot 
with  the  humble  folk  on  the  other 
side  of  the  creek.  It  was  impulse 
that  sent  her  out  at  midnight  to 
make  her  own  way  in  the  world, 
alone,  with  no  money  in  her 
purse.  And  when  Phil  Rhoades 
found  her  and  would  bring  her 
back,  she  refused,  for  she  was 
determined  that  she  would  not 
stand  in  the  way  of  the  career 
of  the  man  she  loved. 

In  a  way,  it  is  true  that  most 
of  us  act  on  impulse  at  one  time 
or  another,  trusting  somehow  to 
the  hidden  voices  within  us  that 
our  actions  may  be  for  the  best. 
The  author  of  this  absorbing 
story  tells  what  may  happen  when 
we  make  impulse  the  guide  to 
life.  It  is  a  story  of  youth  in  the 
!?rip  of  a  great  love  that  is  here 
before  us,  a  book  that  we  do  not 
lay  aside  until  the  last  page  is  read, 
and  one  that  we  take  up  again, 
for  it  is  wcM  worth  the  rereading. 


elsea  house 

rPUBUSrTO 

KW  YORK  CITY 


A  Confidential  Guide  To  Current  Releases 


Continued   from  page  69 


"Their  Own  Desire"  —  Metro-Gold- 
wyn. Finely  directed  story  of  young 
modern  played  by  Norma  Shearer,  with 
comedy  and  emotional  moments  equally 
skillful.  Domestic  troubles  of  parents 
background  of  plot.  Robert  Montgom- 
ery, Lewis  Stone,  Helene  Millard,  Belle 
Bennett. 

"New  York  Nights"— United  Artists. 
Moving  portrayal  by  Norma  Talmadge 
as  shiftless  song  writer's  wife  whose  pa- 
tience is  finally  broken.  Smothered 
with  luxury  by  gangster  czar,  she  is 
triumphantly  virtuous  and  is  suitably 
rewarded  in  the  end.  John  Wray,  Gil- 
bert Roland. 

"Dangerous  Paradise"  —  Paramount. 
Conrad's  "Victory,"  story  of  the  tropics, 
with  Nancy  Carroll  and  Richard  Arlen. 
Nancy  flees  to  Arlen's  retreat  for  pro- 
tection, and  conflict  encourages  love 
against  the  man's  wishes.  Good  di- 
rection and  acting. 

"Puttin'  On  the  Ritz"— United  Art- 
ists. Technicolor  sequence.  Story  of 
vaudeville  singer  who  makes  good  as 
night-club  proprietor.  Some  clever 
staging,  routine  story  of  man  who 
atones  for  sins  by  alcoholic  blindness. 
Joan  Bennett,  Lilyan  Tashman,  Aileen 
Pringle,  James  Gleason  steal  show  from 
nominal  star,  Harry  Richman. 

"Son  of  the  Gods"— First  National. 
Well-directed  story,  with  Richard  Bar- 
thelmess  as  foster  son  of  Chinaman, 
believed  Chinese  himself.  Society 
woman — everybody  meets  the  Four 
Hundred  in  films — horsewhips  him  and 
then  loves  him.  Then  he  turns  out  to 
be  white.  Constance  Bennett,  Frank 
Albertson. 

"Lummox" — United  Artists.  Wini- 
fred Westover's  touching  portrayal  of 
a  kitchen  drudge's  lifelong  fight  for  vir- 
tue, with  one  error,  one  betrayal,  and 
finally  a  cozy  haven.  Big  cast,  all  do- 
ing well.  Dorothy  Janis,  Ben  Lyon, 
William  Collier,  Jr.,  Edna  Murphy,  Sid- 
ney Franklin. 

"Night  Ride" — Universal.  Dialogue. 
Stage  newcomer,  Edward  G.  Robinson, 
gives  fine  performance  in  contrast  to 
overacting  of  Joseph  Schildkraut,  as 
reporter  who  takes  gangster  for  a  ride. 
Barbara  Kent  and  the  late  Lydia  Yea- 
mans  Titus. 

"General  Crack"— Warner.  All  dia- 
logue. Technicolor  sequence.  John 
Barrymore's  talents  and  voice  given  to 
trivial  story  and  dialogue,  yet  his  first 
talkie  proves  he  is  most  romantic  fig- 
ure on  the  screen.  Reckless  soldier 
leads  Austrian  army  to  victory,  acquires 
fickle  gypsy  bride,  Armida,  and  then 
the  archduchess,  Marian  Nixon,  whose 
hand   is   soldier's   final   reward. 

"Sky  Hawk,  The"— Fox.  All  dia- 
logue. Terrors  of  Zeppelin  raid  on 
London  pictured  in  exciting  episode 
showing  how  a  soldier  branded  as  yel- 
low got  the  raider  and  saved  his  good 
name.  The  girl  believed  in  him  any- 
way. John  Garrick,  Helen  Chandler, 
Gilbert  Emery,  Billy  Bevan,  Daphne 
Pollard,  Joyce   Compton. 

"Vagabond  Lover,  The"—  RKO.  Sing- 
ing, dialogue.  Rudy  Vallee  disarms 
critics  by  not  acting  at  all.  Enchanting 
crooning  for  female  ears.  Absurd  story 
strings  his  song  together.  Marie 
Dressier  tries  valiantly  to  save  picture 


with  comedy.     Sally  Blane  is  the  hero- 
ine. 

"Love  Parade,  The"  —  Paramount. 
Dialogue,  singing.  Technicolor.  Mau- 
rice Chevalier's  second  film,  story  of 
long-drawn-out  duel  of  the  sexes,  a  ro- 
mance in  song.  Music  not  quite  haunt- 
ing, but  bright  touches  in  narrative,  in 
spite  of  much  repetition  of  main  note  in 
love  scale.  Jeanette  MacDonald,  Lu- 
pino  Lane,  Lillian  Roth. 

RECOMMENDED— WITH 
RESERVATIONS. 
"Lilies  of  the  Field"— First  National. 
Corinne  Griffith  does  a  tap  dance  on  a 
piano,  and  joins  a  rowdy  show  after  a 
divorce  on  fraudulent  grounds.  Only 
tepidly  interesting.  John  Loder,  Ralph 
Forbes,   Freeman  Wood. 

"Lord  Byron  of  Broadway" — Metro- 
Goldwyn.  Technicolor  sequences.  In- 
different picture  that  may  have  had  a 
good  idea  at  the  start.  Philandering 
song  writer  played  by  Charles  Kaley,  a 
newcomer.  Marion  Shilling  refreshing 
— in  appearance.  Ethelind  Terry,  Cliff 
Edwards,  Benny  Rubin,  the  latter  funny 
at  times. 

"Cameo  Kirby"  —  Fox.  Steamboat- 
gambler  picture  that  echoes  "Show 
Boat."  Trite  story  about  a  plantation 
lost  at  cards,  the  lovely  daughter  of 
the  colonel,  and  gallant  card  sharp. 
Norma  Terris,  J.  Harold  Murray, 
Douglas  Gilmore,  Myrna  Loy,  Charles 
Morton,   Robert    Edeson. 

"So  Long  Letty" — Warner.  Warmed- 
over  comedy  of  married  couple  who 
exchange  partners  to  clear  the  air  of 
bickerings.  Charlotte  Greenwood  amus- 
ing with  unique  antics  and  wisecracks. 
Claude  Gillingwater,  Bert  Roach,  Patsy 
Ruth   Miller,   Grant  Withers. 

"No,  No,  Nanette"— First  National. 
All  dialogue.  Technicolor  sequence. 
Mildly  amusing  old-fashioned  farce  that 
goes  musical  at  the  finsh.  Exposure 
of  Bible  publisher's  innocuous  love  life. 
Alexander  Gray,  Bernice  Claire,  Lilyan 
Tashman,  Louise  Fazenda,  Lucien  Lit- 
tlefield,    Zasu    Pitts,   Bert    Roach. 

"Ifs  a  Great  Life"— Metro-Goldwyn. 
All  dialogue.  Technicolor  sequence. 
The  Duncan  Sisters  do  all  their  tricks 
in  long  film  glorifying  sister  team.  Law- 
rence Gray  marries  one  of  them,  and 
there's  no  end  of  trouble.  Finally  peace 
and  a  success. 

"This  Thing  Called  Love"— Pathe. 
All  dialogue.  Much  gabbling  in  so- 
called  sophisticated  vein,  about  noth- 
ing in  particular.  Man  and  girl  marry 
without  benefit  of  love,  and  there's  end- 
less complication.  Constance  Bennett, 
Edmund  Lowe,  Zasu  Pitts,  Carmelita 
Geraghty,    Ruth    Taylor. 

"Untamed" — Metro-Goldwyn.  Dia- 
logue. Jungle  girl  brought  to  what 
movies  call  civilization — life  trimmed 
with  wild  parties,  plenty  of  dancing 
daughters,  fights  between  rivals  in  eve- 
ning clothes,  et  cetera.  Joan  Crawford, 
Robert   Montgomery. 

"South  Sea  Rose"— Fox.  All  dia- 
logue. The  torrid  Lenore  Ulric  more 
at  home  as  hula  dancer,  yet  flaws  in 
acting,  directing,  and  costuming  make 
you  gasp.  South  Sea  girl  in  prim  New 
England.  Charles  Bickford,  Kenneth 
MacKenna. 


ny 


The   Mystery   Of  Your  Name 


Continued  from  page  107 


enough,  and  you  will  truly  be  able  to  say 
that  you  I  ed  it. 

M.  J.  1'.,  September  S.  1914.— You  are  a 
bright,   quick,   clever   little   girl,   and   you 
don't   let   the  grass   grow   under  your    led 
when  you  want  something  aone.     You  run 
I  out  and  do  it  But  oh,  how 

:>.   turn   on   the 
a   moment's   notice   and   you  can 
float  -ids  two  minutes  later.     You 

have  had  a  lot  of  trouble  >o  far,  and  the 
best  way  you  know  of  escaping  it  is  I 
What  you  must  do,  M.i:y 
up  and  bustle,  for  you  know 
can  do  it  better  than  anybody  else, 
.  you  make  up  your  mind  to  it.  There 
was  some  c.:'ase  for  depression  in  your 
home,  or  something  that  held  you  down, 
when  you  were  less  than  four  years  old, 
but  you  were  a  regular  little  tomboy  at 
:d  seven.  Now  in  the  past  two  or 
three  years  you  have  had  a  bad  time,  for 
some  man  closely  related  to  you  has  died, 
and  you  have  been  very  sick  yourself. 
But  cheer  up.  you  are  coming  out  of  it 
at  this  very  minute,  with  a  big  change 
before  a  year  is  over  that  will  improve 
everything.  From  then  until  you  are 
thirty  you  can  get  married  very  happily, 
and  I  certainly  want  you  to  do  it,  and 
not  try  to  do  any  business  with  the  num- 
bers you  have  row.  for  you  will  struggle 
and  never  make  enough  to  save  a  cent, 
or  if  you  do  earn  money,  something  will 
come  along  and  take  it  from  you.  Do  the 
best  you  possibly  can  until  you  are  twenty- 
four,  and  by  that  time  you  will  find  a 
happy  marriage  that  will  give  you  a 
chance  to  make  good  use  of  your  clever- 
ness and  real  ability. 

A.  P.  L.  J.  C,  July  2,  1904.— What  a 
long  name  you  have,  and  what  a  lot  of 
love  there  is  in  it !  As  a  little  girl  you 
were  so  lively  they  couldn't  hold  you,  but 
since  the  age  of  fourteen  you  have  been 
getting  more  and  more  romantic,  and  so 
far  all  it  has  done  is  to  make  you  mi-i  r- 
able.  Your  birth  path  shows  that  you 
have  a  fine,  quick  mentality,  that  you  love 
to  learn  things,  and  that  you  are  very  just 
and  very  active.  You  want  to  run  things 
yourself,  because  others  are  too  slow  for 
you.  You  will,  with  this  name,  be  very 
well  off  from  now  on,  although  there  will 
be  one  spot  of  financial  depression  in 
about  twen:y  years,  but  it  will  not  last 
long.  Ju<t  the  same,  you  will  have  to 
'-:  hard  for  every  cent  of  it.  You  are 
very  kind  and  generous,  too  kind,  really, 
and  this  causes  a  good  deal  of  trouble, 
especially  with  men  friends,  because  all 
of  a  sudden  they  get  the  idea  that  they 
can  have  anything  they  want,  and  you 
can't  see  it  that  way.  You  were  very 
healthy  a~  a  child,  and  a  lovely,  well- 
formed  girl  by  the  time  you  were  fifteen. 
But  at  eighteen  or  so  you  were  ill,  off  and 
-:ed  a  good  deal  about  it. 
eginning  to  feel  well  again 
since  twenty-three,  and  I  am  glad  to  see 
that  you  have  learned  to  stop  wor- 
for  you  arc  so  very  emotional,  imaginative, 
sensitive,   and  -'.trolled   by   others 

in  spite  of  ail  your  good  sense,  that  there 

"en  a  terrible  between   I 

two  sides  of  your  personality.     You   will 
do  very,  very  well  in  love   from  now  on, 
in    fact,  can   marry   now   if   you   wai 
But  wait  until  you  are  one  or  * 
older  :   will  meet  a  tall,  well-built 

man  with  reddish  hair,  blue  or  hazel  • 
and  a  medium  complexion,  a  rceular  cave 
man.    whom    you    will    adore    and    marry 
right  away. 


F    !'.   11.  Januarj    10,   1906.— By  birth 
you  are  of  a  very  powerful,  independent, 

..      disposition,     and     tins     is 
e  cause  of  all  your  matci  lal  sl; 
When  you  get  your  mind  made  up,  nothing 
can    Stop    you.      You    will    earn    your    own 

money  and  position,  and  enjoy  then 

ter    that    way    than    if    yon    were    married, 
for    1    do    not    find    any    really    deep    lo\  e 
affair    in    your    life.      Oh,    of    course, 
like  to  dream  of  love,  and  you  have  liked 

now  and  then,  but  by  this  tin., 
feel  that  neither  boys  nor  most  men  are 
any  satisfaction  to  you.  In  a  way,  you 
chase  them  off,  tool  You  have  a  lively 
temper,  and  you  don't  mind  telling  them 
where  they  get  off,  especially  when  your 
very  strong  intuition  tells  you  the  reality 
behind  their  little  pretentions  and 
In  the  spirit  you  have  so  much  of  this 
hunch,  this  inner  voice  that  guides  you 
even  when  you  cannot  explain  why,  that 
your  whole  life  will  be  guided  by  it,  and 
all  your  serious  interests  will  be  of  a 
spiritual  nature.  You  will  never  be  free 
from  unusual  difficulties  to  overcome,  no 
matter  what  you  do,  but  all  the  troubles 
that  seem  to  cut  off  your  success  just  as 
you  are  reaching  your  hand  to  grasp  it 
will  serve  you  as  stepping-stones,  so  that 
you  can  reach  still  higher.  Every  time 
ething  is  wrecked,  you  will  build  a 
finer  thing  out  of  the  wreck.  When  you 
were  five  or  six  there  was  a  lot  of  diffi- 
culty in  your  home  surroundings,  and  until 
you  were  fifteen  your  life  was  shadowed 
by  trouble,  accident,  and  illness.  At  pres- 
ent you  are  stronger,  more  independent, 
and  successful  than  ever  before,  and  you 
will  do  very  well,  especially  in  business, 
for  many  years.  But  be  careful  of  your 
health  until  you  are  twenty-eight.  Be- 
tween forty-five  and  fifty-five  you  will 
come  into  a  great  deal  of  money. 

K.  M.  R.  R,  Tune  20,  1888— You  are 
very  artistic  and  fond  of  music,  and  you 
have  great  charm.  You  will  never  grow 
unattractive,  no  matter  how  old  you  live 
to  be.  However,  this  did  not  do  you  much 
good  at  first,  for  your  love  affairs  caused 
you  more  tears  than  happiness,  always 
turning  out  wrong.  I  am  sure  you  were 
not  married  until  you  were  at  lea^t  twenty- 
four,  and  since  then  you  have  had  much 
more  contentment  in  every  way,  for  you 
have  developed  a  great  deal  of  intuition, 
or  hunch,  that  tells  you  how  to  handle 
situations  that  would  have  worried  you 
before.  Be  sure  to  use  this  intuition  for 
the  rest  of  your  life,  in  everything  you 
do,  and  do  not  allow  any  one  to  argue 
you  out  of  what  you  know  is  the  thing  to 
■  ven  if  you  cannot  explain  why.  Be- 
fore you  were  four  you  were  a  delicate 
little  girl,  but  after  that  you  wire  strong 
and  lively  through  your  sch 
had  a  bad  accident  when  you  were  about 
twenty-two,  injuring  your  head,  and  be- 
•i  twenty-five  and  twenty-seven  you 
must  have  been  near  death.  With  this 
marriage  name  of  yours  you  will  reach 
real  financial  comfort,  with  more  than 
can  use,  when  you  have  parsed  fifty.  You 
have  ••    and    a    univi 

understanding  of  life  If  you  want  in- 
dependent activit  tick  1  IC  artistic 
pursuit,  for  you  are  born  with  the  gift  of 
appreciating  beauty,  and  for  any  o'-" 
inter*  .  turn  to 
spiritual  thin;  me  church 
whe-'  !ily  understand  and 
love  them. 


Freckles 


or  a 


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Ilyouu.e  Bleach  Cream 

you  need  no  other  product  than  Stillman'a 
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52  Beauty  Dept.  Send  free  booklet -Tells  why 
you  have  freckles — how  to  remove  them. 

AAJmmmm 

(•lly                                                         Slnt, 

DEAFNESS  IS   MISERY 

Multitudes  of  per  tons  with  defec  live  h 
■  nd    Heid    Noises    enjoy    conversation, 
go  to  Theatre  and  Church  because  the> 
Use  Leonard  Invisible  Ear  Drums  which 
reiemble  Tinv   Mer.apr.unet  fitim*, 
in   the   Ear   entirety  out   of   ujcht 
No  wiret,  batteries  or  head  pMCt 
Thev   are  inexpensive.     Write  for 
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A.  0.  LEONARD.  Inc 


,  tart.  667.70  5th  Aw.,  Kcw  Y«rt 

MYSTIC  DREAM 

ROOK*  '■-      »■  »■   •  '   ■ 

dream*  for  »  i 

when  «  ami  •  boot  MM 

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hi.  kr      day. 

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CDCT    QUAINT    cow 

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will.  wvmTj  •rder. 


WRITERS  OF  SONG  POEMS 


(or  melodies) 

On*  of  Amerirt'i  p-fu'tr  •mar  w*  tart  offer*  yr»i  a  bnoa  ftd*  iMtapu- 
■*nd  for  tt  now.     Tr  ree  •  f  >i-  mni-   - 

•-in-aj  U  batscviAjj.     Be  <  i*9*  Hired  Du«. 

RAY    HtBBELER.    DI87.    2104    N.    Keystone   Av..    ChltM* 

HAVE  YOUR  PICTURE 

ON  YOUR 

Writing    Paper 

iii  LdcHtc 
writing  your  i"  moil" 

I  dink  of  the  thrill  j  i 

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will   B*)1    uImii   V'ii    writ.     IIhiii   01 

ii  imnennlll  Bond 

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THF.    PHOTOS)  I'll*  I     <  (iMI'ANY 
D*p«.  B.  6333  Germantown   Av  .  Phila 


120 

Continued  from  page  102 
tell  from  the  cast  who  sings  what  songs. 
Other  song  hits  from  that  film  wen-  "Your 
[  1>  All  That  1  Crave,"  and  "The  Only 
Song  1  Know."  Nick  Lukas  probably  sang 
one  of  them.  It  wa^  announced  that  Doro- 
thy Dalton  would  return  to  the  screen  in 
"Bride  66"  so  watch  for  it.  Madge  Ken- 
is  busy  with  the  stage  these  days. 
Blanche  Sweet  recently  appeared  in  "The 
Woman  Racket."  •'Show  «.irl  in  Holly- 
wood," and  Christie  two-reelers ;  Mildred 
Harris,  in  "No,  No,  Nanette"  and  "The 
Melody   Man." 

Richard  E.  Passmoke. — Thanks  for  let- 
ting me  know  about  your  club. 

Mixta.— Ill  tell  you  all  I  can  about 
Barbara  La  Marr.  lier  name  was  Rheatha 
Watson  and  she  was  horn  in  Richmond, 
Virginia,  in  1895.  I  don't  know  the  month. 
She  died  January  30,  1926.  She  had  black 
hair  and  green  eyes,  was  five  feet  three 
and  weighed  123.  I  met  her  once  and  she 
had  a  low  sneaking  voice,  with  no  pro- 
nounced accent  of  any  kind.  I  don't  know 
the  dates  of  all  her  marriages,  as  some  of 
them  predated  her  fame.  Jack  Lytell  was 
her  first  husband;  he  died  two  months  after 
the  marriage.  Lawrence  Converse  was 
her  second ;  that  marriage  was  annulled. 
She  married  Phil  Ainsworth  October  13, 
1916 — divorced  the  next  year.  She  was 
Mrs.  Bernard  Deeley  from  September  12, 
1918,  to  November,  1922.  She  married 
Jack  Dougherty  in  May,  1923,  and  was 
divorced  the  year  before  she  died.  Mar- 
celine  Dav  shares  your  birthday,  April 
24th. 

D.  M. — Xo  apologies  needed  for  asking 
questions.  If  no  one  asked  them  I'd  get 
fired !  Ralph  Graves  is  a  blue-eyed  blond, 
six  feet  one  in  height.  He  was  born  June 
o,  1900.  He  was  married  two  years  ago 
to  Virginia  Goodwin,  and  was  once  mar- 
ried to  Marjorie  Seamon,  who  died.  Ralph 
is  not  cast  for  any  film  at  this  writing. 
Lila  Lee  is  27  and  is  Mrs.  James  Kirk- 
wood — they  are  separated,  however.  Jack 
Holt  is  42.  He  has  brown  hair  and  eyes 
and  is  six  feet  tall.  He  has  been  married 
for  years  and  has  three  children,  Imogene, 
Tim,  and  Betty. 

A  Fax,  C.  S. — When  you  get  curious, 
you  do  it  in  a  big  way !  I  don't  know 
of  any  other  player  who  is  the  one-man 
orchestra  Buddy  Rogers  is.  Betty  Comp- 
son  plays  the  violin.  As  to  who  is  the  best 
athlete  on  the  screen,  it  would  need  a  con- 
test to  determine  that.  George  O'Brien 
and  Victor  McLaglen  would  both  be  elig- 
ible. William  Haines  and  Charles  Rogers 
are  both  six  feet  tall,  John  Boles  an  inch 
taller.  Charles  King,  Jack  Oakie,  and 
Ronald  Colman  are  all  five  feet  eleven,  so 
they  say.  Clara  Bow  is  five  feet  three  and 
a  half.  Loretta  Young  is  featured  but 
i">t  starred.  Charles  Rogers'  next  film  is 
"Safety  in  Numbers,"  with  three  leading 
ladies,  Kathcrine  Crawford,  Josephine 
Dunn,  and  Carol  Lombard.  Gary  Cooper 
plays  in  "The  Texan,"  Fay  Wray  opposite. 
[an  Keith  will  he  si  en  opposite  Gloria 
Swanson,  in  "What  a  Widow."  The  hero- 
ine in  Ronald  Oilman's  "Raffles"  is  Frances 
Dade,  a  newcomer. 

Great  Movif.  Fax. — Of  course  I'd  never 
make  any  bets  on  any  of  these  Hollywood 
engag  Heaven     knows     whether 

I.upe  and  (iary  will  ever  marry,  but  she 
is  always  talking  about  how  much  they 
love  each  other.  She  wears  a  s<|uarc-cut 
diamond  ring  and  the  telephone  wires  are 
kept  busy  across  the  continent  when  they 
are  separated.  One  guess  is  as  good  as 
another.  They  once  announced  that  thev 
were  engaged,  at  any  rate.  In  "Rio  Rita." 
','  was  played  by  Robert  Woolsey,  and 
Chick  Bean  by   Bert  Wheeler,  both  well- 


Information,  Please 

known  stage  comics.  "Navy  Blues"  was 
released  in  New  York  last  January.  Wil- 
liam Haines  is  not  engaged.  He  was  born 
in  Stanton,  Virginia,  January  1,  1900.  He 
has  black  hair  and  brown  eyes,  is  six  feet 
tall  and  weighs  165.  He  was  educated  at 
Stanton  Military  Academy,  and  began  his 
screen  career  in  1922,  when  he  and  Elea- 
nor Boardman  won  a  "new-face"  contest 
conducted  by  Samuel  Goldwyn.  Bill  is 
the  oldest  of  a  large  family — two  broth- 
ers and  two  sisters.  Doug  Fairbanks,  Sr., 
and  Joan  Crawford  were  both  born  on  May 
23rd ;  Norma  Talmadge,  Gary  Cooper, 
Richard  Barthelmess,  Valentino,  Billie 
Dove  were  all  born  in  May.  And  tell  your 
skeptic  friends  I've  got  enough  to  do  with- 
out making  up  the  questions  and  answers 
for  this  column. 

Loxdoxite. — After  such  a  charming  let- 
ter, my  head  is  bowed  in  sorrow  that  I 
don't  know  the  name  of  Garbo's  secretary. 
But  any  letter  sent  to  Greta  would  be 
opened  by  a  secretary,  anyhow.  Your 
"What  the  Fans  Think"  address  is  correct, 
but  you'd  best  include  the  street  address 
of  Picture  Play,  79  Seventh  Avenue. 

Cyxtiiia  S.  Morris. — Sally  Starr  is  20; 
she  has  been  in  movies  since  last  year, 
having  previously  been  in  several  New 
York  stage  revues.  Joyce  Compton's 
screen  career  began  about  1925,  after  she 
won  a  Hollywood  beauty  contest.  She  is 
mum  about  her  age.  Vera  Reynolds,  Julia 
Faye,  and  Elinor  Fair  were  all  born  in 
Richmond,   Virginia. 

Elvira  from  Jersey  City. — For  the 
honor  of  your  home  town,  perhaps  you 
had  better  become  a  star ;  I  don't  know  of 
any  from  Jersey  City.  Janet  Gaynor  has 
auburn  hair,  rather  wavy,  but  I  don't  know 
whether  natural  or  permanent.  What  are 
you,  an  eye  specialist?  Joan  Crawford 
and  Edmund  Lowe  have  blue  eyes,  James 
Murray  green,  and  Ralph  Graves  brown. 
Ralph  was  born  June  9,  1900 ;  Jack  Oakie, 
November  12,  1903,  Greta  Garbo  in  1906, 
Sally  O'Neil,  October  23,  1908.  Sally  has 
black  hair  and  dark-blue  eyes.  Molly 
O'Day  and  Sally  appear  together  in  "Sis- 
ters." All  the  players  you  ask  about  are 
Americans,  except,  of  course,  Garbo. 

Jean  Brown. — I  don't  know  who's 
wrong  about  Barbara  La  Marr's  birth- 
place ;  her  official  biography  gives  Rich- 
mond, Virginia,  and  so  do  my  newspaper 
clippings   at  the   time   of  her   death. 

Lover  of  Movies. — So  you  have  to  ask 
questions?  Just  like  me — I  have  to  answer 
them.  Leroy  Mason  is  married  to  Rita 
Carewe  and  why  should  you  want  them 
to  get  a  divorce?  He  doesn't  tell  his  age. 
Leroy  has  no  studio  contract  and  doesn't 
appear  much  on  the  screen. 

A  Movie  Fax. — I'll  tell  you  anything  I 
know.  Betty  Bronson  is  playing  in  "The 
Medicine  Man,"  with  Johnny  Hines  and 
Jack  Benny.  Ruth  Roland  is  trying  a 
screen  comeback  in  "Reno" ;  the  rest  of 
the  cast  has  not  been  announced.  Emil 
Jannings  is  44 ;  he  is  back  home  in  Ger- 
many making  pictures.  George  O'Hara 
supported  John  Barrymorc  and  Dolores 
Costello,  in  "The  Sea  Beast."  Ted  Mc- 
Namara  is  dead  and  Sammy  Cohen  appears 
on  the  screen  now  and  then. 

CHARMIAN  Davis. — Do  your  questions 
sound  amateurish  !  Indeed,  when  did  ask- 
ing questions  become  one  of  the  profes- 
sions? John  Boles  is  six  feet  one.  Sally 
O'Neil  and  Molly  O'Day  are  from  Bay- 
onnc,  New  Jersey,  and  Betty  Bronson 
from  Trenton.  Norma-  Talmadge  did  not 
make  "Blossom  Time"  on  the  screen:  think 
again  what  film  you  mean,  and  then  write 
and  tell  me. 


Barbara  Traill. — Enough  ammunition 
to  defend  myself !  You  mean  from'  ques- 
tions? That  wouldn't  need  ammunition — 
that  would  need  money  enough  to  retire 
on.  Ruth  Chattcrton  was  born  in  New 
York  City,  and  educated  at  Mrs.  Hazen's 
school  near  by.  When  she  was  fourteen, 
accepting  a  dare,  she  got  a  job  in  a  stock 
company  in  Washington,  D.  C,  and  over 
parental  protest,  remained  on  the  stage. 
At  eighteen  she  attained  stardom.  Her 
plays  included  "Daddy  Long  Legs," 
"Moonlight  and  Honeysuckle,"  "Come  Out 
of  the  Kitchen,"  "A  Marriage  of  Conven- 
ience," "Mary  Rose,"  "La  Tendresse," 
"Changelings,"  "The  Little  Minister,"  and 
others.  Emil  Jannings  saw  her  on  the 
stage  in  Los  Angeles,  in  "The  Devil's 
Plum  Tree,"  and  requested  her  for  his 
leading  lady  in  "Sins  of  the  Fathers." 
Thus  her  film  career  began.  Miss  Chat- 
tcrton— Mrs.  Ralph  Forbes — is  blond,  five 
feet  two  and  a  half,  and  weighs  110.  Yes, 
I  have  a  record  of  your  club  in  her  honor. 
Charlie  Chaplin  was  born  April  16,  1889 ; 
Ronald   Colman,   February  9,   1891. 

Betty  Jo. — Louise  Brooks  was  born  in 
Wichita,  Kansas,  in  1909.  She  is  five  feet 
two,  black-haired,  and  weighs  120.  Until 
recently  she  made  pictures  in  Germany. 
Dancing  is  her  favorite  sport ;  she  was 
formerly  a  professional  dancer.  Jacqueline 
Logan  specializes  in  music,  and  was  once 
a  reporter.  She  was  born  in  Corsicana, 
Texas,  November  30,  1902.  She  has  au- 
burn hair,  gray  eyes,  and  is  five  feet  four. 
Both  these  girls  use  their  real  names. 

A  Fan. — And  a  fan  who  likes  to  make 
me  work,  digging  up  answers  to  odd  ques- 
tions, I  can  see  that.  "Hell's  Angels,"  ac- 
cording to  present  announcements,  will  al- 
ready have  opened  in  New  York  by  the 
time  this  is  in  print.  I  don't  know  what 
Bill  Haines'  very  first  film  was :  "Wine  of 
Youth,"  made  in  1924,  was  one  of  the  first 
in  which  any  one  noticed  him.  Edward 
Ellis  is  not  related  to  Robert.  I  hope  it 
won't  blight  your  life  that  no  star  was 
born  on  May  18th — your  birthday,  I  sup- 
pose? Johnny  Hines  is  now  cast  in  "The 
Medicine  Man,"  his  first  talkie.  As  to 
where  old  films  are  shown  in  New  York 
the  little  arty  theaters  frequently  show 
them — the  Cameo,  Fifty-fifth  Street 
Cinema,  and  others.  Watch  your  local 
newspapers. 

Jack  Gilbert. — You  can't  fool  me; 
you're  not  the  Jack  Gilbert.  What  a  hard 
time  we  have  pleasing  everybody !  You 
want  only  girls'  pictures  on  the  cover,  yet 
we're  always  getting  complaints  because  we 
don't  have  more  men.  Garbo's  picture  ap- 
peared there  last  month.  Charles  Bick- 
ford,  formerly  of  the  stage,  is  the  leading 
man  in  "Anna  Christie."  Greta's  next  film 
is  "Romance."  To  join  Elaine  B.  Stein's 
Novarro  club,  write  her  at  101  Richlawn 
Avenue,  Buffalo. 

Bill. — So  you've  read  enough  magazines 
to  supply  a  paper  mill?  To  think  that  all 
this  work  should  come  to  such  an  ignoble 
end !  "The  Isle  of  Lost  Ships"  was  not  a 
special,  so  its  filming  required  the  usual 
four  to  six  weeks.  Harry  Langdon  is  ap- 
pearing regularly  in  Hal  Roach  two-reel 
comedies. 

Ethel  Spixdler. — So  you  think  Picture 
Play  has  "It"  ?  What  is  the  world  coming 
to,  when  even  magazines  have  sex  appeal? 
Claudctte  Colbert's  family  name  is  Chau- 
choin.  She  is  Mrs.  Norman  Foster.  Clau- 
dette  plays  at  the  Paramount  studio. 
Astoria,  Long  Island.  Your  club  paper  is 
very  interesting ;  I'll  keep  a  record  of  your 
club.  We  had  to  discontinue  announce- 
ments of  new  fan  clubs,  as  they  threat- 
ened  to  crowd  out   answers  to  questions. 


I 


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11^ 


(122) 


w 


Out  of  a  Paris  Studio  She  Came — 

Caprice,  in  love  with  an  American  artist,  but  giving  up 
everything  to  help  her  father,  went  on  her  great  adventure 
from  the  Latin  Quarter  of  Paris  to  a  wealthy  home  in  New 

York.  There  she  hoped  to  receive 
from  her  dying  grandfather  funds 
that  would  carry  her  father  artist 
through  his  difficulties. 

But  there  were  relatives  who 
had  other  plans  in  view,  ">nd  soon 
Caprice  found  herself  facmg  alone 
a  little  world  of  designing  people. 
One  climax  follows  another  as 
Caprice  overcomes  odds  that  seem 
insuperable.  Her  dramatic  story  is 
beautifully  told  in 


GAY 
CAPRICE 

B)>  Beulak  Pointer 


The  publisher  of  this  book,  which  has  never  before  appeared 
between  book  covers,  is  CHELSEA  HOUSE,  whose  popular 
copyrights  are  one  and  all  the  best  of  good  reading.  Love, 
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stories,  write  to 

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<^? 


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Threesome 


Perhaps  you'll  never  make  a  hole- 
in-one.  Most  golfers  don't.  (It's 
one  of  several  things  they  have  in 
common.)  But  there's  another, 
more  delightful  tie  that  binds  .  .  . 
the  universal  appreciation  of  what 
a  good  cigarette  can  add  to  the 
pleasure  and  enjoyment  of  the 
game.  Camels  are  fragrant,  refresh- 


ing, mellow  ...  a  welcome  third 


to    the    most   thrilling    twosome. 


©  1930,  R.  J.  Reynolds  Tobacco  Co.,  Winston-Salem,  N.  C. 


tEAD  THE  BEST-STREET  &  SMITHS  MAGAZINES 


wwm  „ 


AUGUST 
1030 


AM  ONE  BREAK 
NTO  TALKIES? 

NOT  HEROES 

TO  THEIR 

TAILOR 


.   i*  ■.  »*» 


CLAUDETTE   COLBERT 


Sign  of 
progress 


BETTERMENT.  Thai  is  the  watchword  of  American  prog- 
ress. As  a  nation  we  are  not  content  to  stand  still.  We 
want  better  foods,  we  want  newer  and  better  ways  of 
doing  things,  labor-saving  devices,  short-cuts.  We  want 
more  comforts  and  luxuries  for  our  homes.  We  want 
better  automobiles  at  lower  costs.  We  want  better  houses, 
better  stores,  better  means  of  transportation.  We  want 
to  dress  better  and  to  play  and  enjoy  ourselves  more. 

Progress  is  reflected  by  the  advertising  found  in  the 
magazines.  It  is  through  advertising  that  we  first  learn 
of  the  newest  in  merchandise,  the  newest  methods,  the 
newest  of  everything.  Advertising  is  the  sign  of  progress 
and  often  the  source  of  it. 

Read  the  advertisements  in  this  magazine.  Study 
them.  Profit  by  them.  They  will  help  you  secure  what 
you  need  and  want  for  less  money  than  you  often  expect 
to  pay.  Keep  up  with  the  advertising  and  advertising 
will  help  you  keep  abreast  of  the  times.  For  advertising 
supplies  new  ideas,  new  methods,  and  new  inspirations 
to  a  work-a-day  world.  Advertising  is  not  only  the  sign 
of  progress — advertising  is  progress. 


Be  progressive  .  .  .  keep  in  touch 

with  the  advertisements  in  this  magazine  .  .  . 

it  will  be  well  worth  your  while 


WILL  ROGERS 

-r-^  Will      P(~.^i»rc      «e»n<;irk      nn      n      linf^r &  ^^m 


Will  Rogers  seasick  on  a  liner  — 
f  I  riding  to  hounds  with  an  English  lord 
^^  I  — as  the  stern  parent — as  the  not-so- 
stern  parent — enough  laughs  for  a  lifetime! 
You've  read  his  stuff  in  the  papers,  heard  him 
over  the  radio,  seen  him  on  the  stage  and  in 
that  hilarious  Fox  hit,"TheyHad  to  See  Paris." 
Nowcomesthehighspotin  hiscareer.  $Q 
It's  the  funniest  role  Will  Rogers<^s^P 
ever  played!    And  the  best  show  he 

was  ever  in!  ...  A  sparkling  love- 
story,  too,  with  an  exceptional 
supporting  cast  including  Irene 
Rich,  Maureen  O'Sullivan,  Lumsden  Hare, 
Bramwell  Fletcher  and  Frank  Albertson. 


□ 


MONTHLYllllllllllllllllllllilllllllllllllllliilllllllllilim 


i 


Picture  Play 

YEARLY  SUBSCRIPTION,  $2.50  SINGLE  COPIES,  25  CENTS 

VolumeXXXlI  CONTENTS    FOR    AUGUST,    1930  Number  6 

The  entire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 

What  The  Fans  Think  * 12 

Our  readers  express  their  opinions  inimitably. 

Every  Inch  A  Star 15 

A  portrait  of  Nancy  Carroll  that  speaks  for  itself. 

Your  Chance  In  Talkies Mignon  Rittenhouse       .     16 

PICTURE  PLAY'S  investigator  gives  firsthand  information. 

Their  Only  Rivals 20 

But  they  are  not  feared  by  the  stars. 

Are  Handsome  Heroes  "Out"?  .         .         .         .     Elsi  Que         ...     21 

The  rise  of  the  rugged  lovers  is  wittily  challenged. 

Quick,  Watson,  The  Needle!       ....     Samuel  Richard  Mook  .     22 

What  your  favorite  actor   means  when  he   says   this. 

Venus  Vanishes 25 

A    tribute    to    Vilma    Banky's    retirement. 

His  Name  on  the  "Bilgeboards"         .         .         .     Alma  Talley  .         .         .26 

That's  Jack  Oakie's  meed  of  fame. 

What  A  Gloria! 28 

Striking  pictures  of  Gloria  Swanson  in  her  new  film. 

Over  The  Teacups The  Bystander       .         .     30 

Fanny  the  Fan  on  the  up  and  up. 

The  Look  of  the  Month Malcolm  H.  Oettinger  .     34 

Lily  Damita  is  nominated. 

Favorites  of  the   Fans 35 

Portraits  in  rotogravure  of  eight  leaders. 

What  Is  His  Mystic  Power?       ....     Madeline  Glass       .         .     43 

Amazing   revelations   of   Ramon   Novarro's   spell. 

The  Stroller Neville  Reay  ...     44 

Ironic  observations  on  Hollywood's  foibles. 

Strong  And  Silent  Men       .         . 46 

Pictures  that  prove  it. 

Her  Strange  Handicap Romney  Scott        .         .     47 

You'll  never  believe  it  of  Marilyn   Miller. 

I  Stop  To   Look  Back Neil  Hamilton        .         .     48 

The  third  installment  of  an  actor's  autobiography. 

Goodness  Gracious — What  Next? 51 

Pictures   of  stars  striving  to  please. 

When  DeMille  Takes  To  Air     .         .         .         .     Myrtle   Gebhart     .         .     52 

A  colorful  description  of  "Madame  Satan"  in  the  making. 

Continued    on    the    becond    Page    Following 

,\    Smith    Publication!,    Inc.    "fl-SD    Seventh    Avenue,    New   York   Pity.      Ormond   G.    Smith.   President;   George   C. 
I   Tre«    irer;  George  C.    Smith,  Jr..   Vice   President;  Ormond  V.   Gould.   Secretary.     Copyright,   1930.  by  Street  &  Smith  Pub- 
i  fork.      Copyright,    1930,    by    street    ft    Smith    Publication),    Inc.,    Great    Britain       Entered    as    Second-class    Matter.    March    0, 

II    Niu    York,    N.    v..    under  Act   of   Congress  of  -March   3.    1879.      Canadian  Subscription.    $2.80.      Foreign,   $3.22. 
Wc    do   not    hold    ourselves   responsible    for   the   return    of    unsolicited    manuscripts. 
All    manuscripts    must    be    addressed    to    the     Editors,    care    of 

STREET   &   SMITH   PUBLICATIONS,   INC.,   79  7th  AVE.,   NEW   YORK,  N.  Y. 


'u'nifflramitimilUll'lHIIM'.IillMH  ■::      !  ■        :l|- IM.., <|'|!|l! 


GOOI>     I1>I!S 


NEWS    FROM 
PARAMOUNT! 


•NTERTAINMENT  news  that 
will    thrill    millions!    The 
GREATER  New  Show  World  is 
here!    70  Paramount  Pictures 
strong!   Attuned   to  these  chang- 
ing times.    In  key  with  this  fast 
moving  world.  <f   Under   their 
spell  you're  lost  to  the  world.  Liv- 
ing the  stories.   Laughing  at  some 
plots.  Thrilled  to  the  hone  with 
others,   (lharmed  with   the  tunes 
in   the  musicals.    Delighted  uith 
everything!  q   It's  a  GREATER 
New   Show   World   now. 
And  Paramount  is  lead- 
ing it.  Paramount — with 
18  years  of  supremacy. 
Paramount  —  with    the 
higgest  stars.  Paramount 
— with  the  keenest  show- 
manship minds.   Para- 
mount—  with  the  great- 
est  resources,  organiza- 
tion, and  man  power  in 
motion  pictures.  <J  Tell 
your    Theatre    .Manager 
now  you  want  to  see  all 
these  70  GREATER  New 
Show     World     Pictures! 


(paramount 


p  a  it  *  m  o  i  *  t     n  r  t  i   ii  y. 


I'\I(\MHI   M      II'    1 1  HI  M..     M  w      ^  oil  K 


i   ii  i       ii  i  \  i      s  ii  o  n      l  \     T  »  w  \  '  ' 


Contents — Continued 


Open  House  For  Pep  . 


Samuel  Richard  Mook  .     56 


Where   the  younger  generation  of  players   spend   their   week-ends. 


Betrayed  by  a  Friend  ...... 

The    camera    plays    pranks    with    its    erstwhile    favorites. 

The  Mystery  Of  Your  Name       . 

The  most   fascinating  department   in  any  magazine. 


58 


Monica  Andrea  Shenston    60 
Edwin  &  Elza  Schallert     62 

.     66 


Hollywood  High  Lights      .... 

News    and    gossip    of    the    cinema    capital. 

The  Movie  Racket Inez  Sabastian 

Everybody's  favorite  serial  reaches  a  soul-satisfying  end. 

The  Up  And  Down 

Photographs    of   stars   giving   the    look   that   says    more    than    words. 

A  Confidential  Guide  To  Current  Releases 

Helpful  hints  on  pictures  now  showing 

The  Screen  In  Review         .... 

Our    critic    proffers    his    report. 


Joan — As  She  Is 

Miss   Crawford's   innermost   soul   is   revealed. 

Beauty  Goes  To  War  . 

The  battle  of  pulchritude   is   cleverly  described. 

They  Reel  Their  Own         . 

Intimate  side  lights  on  the  stars  as  camera  men. 

Information,  Please 

Authoritative  answers  to  readers'  questions. 


Norbert  Lusk 
Margaret  Reid 
Willard  Chamberlin 
Myrtle   Gebhart     . 
The  Oracle     . 


68 
69 
70 
74 
83 
88 
102 


BABES   IN    HOLLYWOOD 


THAT'S  the  title  of  our  big,  new  serial  which  begins  in  September 
PICTURE  PLAY.  Written  by  Inez  Sabastian,  author  of  "The 
Movie  Racket,"  it  is  so  wholly  exceptional  that  we  couldn't  delay 
its  publication.  It  is  one  of  those  things  that's  too  good  to  keep 
to  ourselves.  Why  are  we  so  enthusiastic?  Because  "Babes  in 
Hollywood"  is  unlike  any  story  of  the  movies  that  has  ever  been 
written.  It  has  a  plot  of  striking  originality,  unlooked-for  com- 
plications and  strong  emotional  crises,  yet  it  is  true  to  life  in  the 
cinema  capital.  How  a  girl  born  in  Nebraska  becomes  Carmen 
Valencia,  the  great  Spanish  star,  is  strictly  within  the  range  of 
probability,  if  you  know  your  Hollywood  as  well  as  Inez  Sabastian 
does,  and  in  our  opinion  there  is  absolutely  no  one  who  knows  it 
better  than  she.  Taking  her  heroine  to  California,  she  seemingly 
runs  away  from  the  author  and  plunges  into  adventures  of  her  own. 
They  are  extremely  realistic,  too,  and  every  girl  who  reads  about 
them  will  at  once  see  herself  as  the  heroine,  for  they  are  not  only 
adventures  in  fame,  but  in  love  both  real  and  counterfeit.  Honestly, 
"Babes  in  Hollywood"  is  a  tremendous  story,  and  we  won't  be  at 
all  surprised  if  you  overwhelm  us  with  letters  telling  us  so.  We 
wish  you  would  write  us,  anyway. 

AND  THIS  IS  NOT  ALL 

NOT  by  any  means  does  PICTURE  PLAY  consider  that  it  has 
finished  its  job  of  providing  the  best  magazine  of  the  screen 
in  offering  its  readers  a  new  serial  next  month.  Far  from  it. 
Myrtle  Gebhart  has  done  her  bit,  and  done  it  well,  too.  She  con- 
tributes what  Lon  Chaney  declares  is  his  last  interview.  It  is 
also  among  the  very  few  he  has  ever  given,  and  you  will  find  it 
doubly  interesting,  as  it  comes  on  the  eve  of  his  long-delayed  debut 
in  the  talkies.  What  Mr.  Chaney  says,  he  says  plainly.  You  will 
admire  him  all  the  more  for  his  frankness. 

The  secretaries  of  the  stars  have  always  interested  you,  haven't 
they?  William  H.  McKegg  gratifies  your  curiosity  by  telling  you 
all  about  these  little-known,  but  very  important  persons — who  they 
are,  what  are  their  duties,  problems,  and  joys  in  serving  their  cele- 
brated employers.  Haven't  you  been  waiting  for  such  an  article?  It 
isn't  the  only  one  of  its  kind  in  PICTURE  PLAY  for  September. 
Just  get  the  magazine  and  see  for  yourself! 


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7        H 


ANEW  movie  season  is  almost  here  .  . 
i  Make   sure   it  brings  you  better, 
richer  talking  picture  entertainment! 

Wouldn't  you  like  to  have  a  say  in 

"booking"  attractions  for  your  local 

theatre?  Wouldn't  you  like  to  help 

pick  the  pictures  you're  going  to 

see  in  the  next  twelve  months? 

Wouldn't  you   like  to  make 

sure  of  seeing  your  favorite 

stars,  and  the  biggest  hits 

of  the  coming  season? 

There  IS  a  way  to  do  it 
—  if  you   act  now 


W 


...  ,  #1* 

'    iUfti   .  ,•'<*'.'./_<  i'tl.'il.i  \.l  '    U    J; 


Tell  youi7\+hedtre  M&n&der  you  want  to  Jee 


ARNERBROS 


FIRST  NATIONAL 


ITAPHONE 


y?k 


RIGHT  now  your  theatre  manager  is  selecting  his  attractions 
for  the  coming  year.  He's  trying  to  choose  the  ones 
YOU'LL  like  best. 

You  can  help  him  decide  by  telling  him  YOUR  choice!  He'll  be 
GLAD  to  know  your  preference  so  that  he  can  more  closely 
accommodate  your  tastes. 

To  help  you  in  your  selection,  WARNER  BROS,  and  FIRST 
NATIONAL,  exclusive  Vitaphone  producers,  announce  here  in 
advance  their  amazing  production  programs  for  1930-31. 

Look  over  these  lists Notice  the  wealth  of  famous  stars  . . . 

the  brilliant  stories  by  favorite  authors  . . .  the  wonderful  enter- 
tainment values  these  titles  promise. 

Compare  them  with  any  other  group  of  pictures  announced 
for  the  coming  year  . .  .Then  use  the  ballot  on  the  second  page 
following  to  indicate  your  choice. 


{Titles  and  casts  are 
lubject  to  change  in  a 
few  instances.) 


WARNER  BROS.  PICTURES  for  1930-1931 


JOHN   BARRYMORE 
in  "MOBY  DICK" 

From  the  famous  novel  by  Herman  Melville. 
With  Joan  Bennett. 


JOHN   BARRYMORE 

In  a  second  spectacular  production. 

"VIENNESE   NIGHTS" 

All  in  Technicolor 

Their  first  original  romance. 

By  Sigmund  Romberg  and  Oscar 

Hammerstein  2nd. 


"CAPTAIN  APPLEJACK" 

From   the    long-run   stage   hit.     With   John 
Halliday,  Mary  Brian  and  other  stars. 


"MAYBE  IT'S  LOVE" 

With  the  All- American  Football  Team 

And  Joe  E.  Brown,  Joan  Bennett. 


GEORGE  ARLISS 
in   "OLD  ENGLISH" 

From   the   celebrated   play   by  John 
Galsworthy.   With  a  star  cast. 

• 

"FIFTY  MILLION  FRENCHMEN" 

The  greatest    musical   comedy  in   years  in 
New  York,  filmed   entirely  in  Technicolor. 

"THE  OFFICE  WIFE" 

By  Faith  Baldwin. 

• 

"THE  LIFE  OF  THE  PARTY" 

All  In  Technicolor 

With  Winnie  Lightner,  Irene  Delroy 
and  others. 


"THE  DANUBE  LOVE  SONG" 

All  in  Technicolor 

A  lavish  romance  by  famous  Oscar  Strauss. 


AL  JOLSON  in  "BIG  BOY" 

All   Laughil 

"SIT  TIGHT" 

With  Winnie  Lightner,  Joo  E.  Brown, 
Irene  Delroy. 

"RED   HOT  SINNERS" 

With  Winnie  Lightner. 

"NANCY  FROM  NAPLES" 

Irene   Delroy,   Charles   King   and  10  other 
stars  in  a  comedy  by  celebrated  Elmer  Rice. 

"CHILDREN   OF   DREAMS" 

Magnificent  romance  by  Oscar 
Hammerstein  2nd  and  Sigmund  Romberg. 

AND  MANY  OTHERS 
Also'VITAPHONE  VARIETIES" 


The  finest  of  all  "Short  Subjects." 


FIRST  NATIONAL  PICTURES 
for  1930-1931 


STARS  aH 
PICTURES 


RICHARD  BARTHELMESS 
in  "THE  DAWN  PATROL" 

A  vast  production  and  a  perfect 
Barthelmess  story. 

• 

RICHARD  BARTHELMESS 
in  "ADIOS" 

The  brilliant  star  in  the  kind  of  part  that 
made  him  famous. 

• 

"THE  GIRL 
OF  THE  GOLDEN  WEST" 

One  of  the  greatest  stage  plays  of  all  time, 

to   be   filmed    with    Ann    Harding,   James 

Rennie  and  7  other  stars. 

OTIS  SKINNER  in  "KISMET" 

With  Loretta  Young 

One  of  the  stage's  greatest  stars   in   his 

most  famous  hit. 

• 

"THE  TOAST  OF  THE  LEGION" 

All  in  Technicolor 

From   the  glorious  Victor    Herbert   hit, 
"Mile.  Modiste,"  with  a  tremendous  cast. 

• 

"MOTHER'S  CRV" 

From  the  famous  best-selling  novel 

"TOP  SPEED" 

Joe  E.  Brown  and  Jack  Whiting  in  a  great 
Broadway  success. 

"THE  BAD  MAN" 

Wolter    Huston    and    5    other    stars    in    a 
celebrated  stoge  comedy. 


MARILYN  MILLER 
in  "SUNNY" 

By  Otto  Harbach  and  Oscar 
Hammerstein  2nd.    Music  by  Jerome  Kern. 

• 

"WOMAN  HUNGRY" 

All  in  Technicolor 

With  Lila  Lee,  Sidney  Blackmer,  Fred  Kohler 

and  5  other  stars. 

"BRIGHT  LIGHTS" 

All  in  Technicolor 

With    Dorothy  Mackaill,   Fronk  Fay  and  8 
more  stars. 

• 

"RIGHT  OF  WAY" 

From    the    famous    novel    by    Sir    Gilbert 

Parker,  with  Conrad  Nagel,  Loretta  Young 

and  others. 

"THE  CALL  OF  THE  EAST" 

First    original    screen     production    by    the 

brilliant  composer  and  author,  Jerome  Kern 

and  Otto  Harbach. 

• 

"CAPTAIN   BLOOD" 

Glorious    sea    adventure    from    the    thrill- 
packed  pages  of  Rafael  Sabatini. 

• 

"THE   HONOR   OF  THE 
FAMILY" 

With  Wolter  Huston. 

• 

AND  MANY  OTHERS 


/f<ftl930-l93l 


10 


Cast  your 


Vitaphone  is  the  registered 
trade-mark  of  The  Vita- 
phone  Corporation.  Color 
scenes  by  the  Technicolor 
process. 


WARNER  BROS.  PICTURES,  INC.  P.  P. 

321  West  44th  St.,  N.Y.  C. 

I  should  like  to  see  all  of  the  Vitaphone  pictures  which  Warner 
Bros,  and  First  National  plan  to  produce  this  coming  year. 
Please  send  me  a  photograph  of 

(Insert  nuna  of  «iiy  atar  mentiunrd  in  tbis  anouunccment.) 

(SignedJ 

(Address.) - 

(City  &  Stale) 


WARNER  BROS. 


FIRST  NATIONAL 


andVITAPHONE 


STARS  cindP  I CTU  RES 


I030 

1 1 1  II 


YOU  have  just  read  on  the  preceding  page  the 
most  ambitious  array  of  super-productions  any 
company  has  ever  dared  to  plan! 

Entertainment  values  that  would  ordinarily  be  spread 
over  two  years  or  more,  will  be  concentrated  by  these 
two  famous  producers  in  a  single  season! 

Many  of  them  will  be  radiant  with  the  resplendent 
tints  of  Technicolor... and  ALL  will  have  the  perfect 
tone  of  Vitaphone. 

If  you  enjoyed"Disraeli",'Gold  Diggers  of  Broadway", 
and  the  scores  of  other  great  Vitaphone  successes 
released  last  year,  you  will  want  to  be  sure  to  see  the 
stars  and  new  productions  of  the  companies  that  have 
proved  theirpreeminence  byturning  out  hits  like  these. 

To  help  bring  these  exciting  shows  to  your 
theatre,  use  the  ballot  below  NOW!  Sign 
it  and  mail  it  today  to  Warner  Brothers 
Pictures,  Inc. 

Your  choice  will  be  brought  to  the  attention  of  your 
theatre  manager,  and  you  will  receive  —  FREE  —  a 
beautiful  photograph  of  your  favorite  star. 
Also  write  or  'phone  your  theatre  manager  direct 
to  let  him  know  that  you  wish  to  see  these 
famous  stars  and  important  productions. 


fl 


11 


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H 


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m 

1 


A   chance   resem- 
blance    to     a     famous 
motion-picture    actress 
brought  to  Dawn  Mc- 
Allister   the    opportu- 
nity to  leave  the  drab 
world    of    stenography 
for  the  fascinations  of 
the  motion-picture  lot. 
And    soon    she    was 
head  over  heels  in  love 
with  an  actor  and  in- 
volved in  the  strangest 
mesh  of  circumstances. 
For  Fate  decreed  that 
she  must  go  on  imper- 
sonating   the    famous    star, 
and  soon  she  was  the  reign- 
ing beauty  in  the  fantastic  world 
of  studio  and  location. 
If  you  want  a  book  that  carries  you  at 
breathless  pace  from  start  to  finish,  then  here  it  is, 
tailor-made  for  you.     It  is 

The  Splendid  Folly 

By  BEULAH  POYNTER 

Outstanding  on  the  list  of  the  offerings  of  CHELSEA 
HOUSE,  one  of  the  oldest  and  best-established  publishing 
concerns  in  this  country,  "The  SPLENDID  FOLLY"  has 
about  it  the  distinctive  originality  and  swift  movement  that 
make  CHELSEA  HOUSE  love  stories  favorites  of  fiction- 
lovers  from  coast  to  coast.  Ask  for  it  at  your  dealer's  to-day, 
or  for  a  full  list  of  CHELSEA  HOUSE  offerings  write  to 

CHELSEA      HOUSE,    79    Seventh    Avenue,   New  York   City 


Price,  75  Cents 


Price,  75  Cents 


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12 


What  The  Fans  Think 


The   Movies  Did  Get  Them. 

SIX  years  ago,  Picture  Play  published  an  article 
entitled  "The  Movies  Can't  Get  Them."  It  dealt 
with  the  difficulty  of  Hollywood  producers  to  ac- 
quire the  services  of  stage  celebrities.  It  argued  the 
question  pro  and  con,  arriving  at  no  definite  conclusion. 

Now,  after  six  years,  the  situation  is  remarkably 
changed.  These  haughty  Broadway  show  girls  and 
boys — where  are  they  to-day?  Some  still  where  they 
started,  to  be  sure,  but  a  large  number  of  them  are  in 
Hollywood.  Six  years  ago  they  cried,  "What?  Never! 
Stage  dignitaries  gracing  motion  pictures?  Well,  it 
simply  isn't  being  done !"  They  said  no,  but  it  didn't 
take  them  long  to  change  their  minds. 

Of  course,  the  talkies  are  responsible  for  it  all,  and 
in  many  cases  what  has  been  Broadway's  loss  has  cer- 
tainly been  the  gain  of  the  fans.  Taking  into  considera- 
tion actual  statistics,  we  can  name  offhand  dozens  of  foot- 
light  personalities  who  have  recently  been  lured  to  the 
gates  of  moviedom.  And  the  funny  part  is  that,  where 
formerly  they  dismissed  the  question  with  an  aloof 
negative,  they  now  trip  over  themselves  rushing  to  sign 
screen  contracts.  In  fact,  if  one  can  believe  all  he  reads, 
Hollywood  is  nothing  less  than  a  battlefield  for  the 
stage  and  screen  players.  It  must  be  very  disturbing 
to  the  producers  and  directors,  but  at  least  it  will  end 
favorably  from  one  standpoint.  It  will  unquestionably 
rid  the  screen  of  a  lot  of  useless  and,  for  the  most 
part,  unwanted  hangers-on. 

It  looks  as  though  talent,  and  not  beauty,  will  pre- 
dominate on  the  screen  for  the  first  time.  This  will 
naturally  put  out  of  business  such  impostors  as  Alice 
White,  Olive  Borden,  Billie  Dove,  and  William  Boyd. 
Their  beauty  will  be  replaced  by  the  melodious  accents 
of  Kay  Francis.  Jeanette  MacDonald,  and  Alexander 
Gray.  But  don't  think  I  am  running  down  the  movie 
--tars  as  a  whole  in  order  to  eulogize  their  competitors. 
There  still  isn't  any  one  to  replace  such  genuine  actors 
as  Ramon  Novarro,  Nancy  Carroll,  and  our  old  favo- 
rite. Gloria. 

Judging  from  what  we  hear,  many  of  the  stage  folks 
arriving  in  Hollywood  take  the  greatest  delight  in  put- 
ting on  the  ritz.  This  is  had  policy.  Marilyn  Miller 
may  know  that  she's  a  good  singer  and  a  fair  dancer. 
but  she  has  by  no  means  got  the  screen  personality  or 
Camera  technique  of  Joan  Crawford.  So  it  just  about 
balances;  what  one  has  the  other  hasn't.     However,  the 


battle  of  the  stars  affords  many  a  ha-ha  for  the  fans, 
because  we  remember  when  the  movie  players  were  so 
sure  of  their  position  and,  on  the  other  hand,  the  stage 
celebrities  poked  fun  at  the  idea  of  playing  in  pictures. 
In  those  days  the  movies  couldn't  get  them;  at  the 
present  moment  try  and  stop  them! 

Gordon  W.  Lane. 
Montreal,  Canada. 

"Intoxicating  Nonsense." 

Here  is  some  one  else  who  likes  to  make  up  his  own 
mind  about  the  movies,  and  who  did,  in  the  case  of 
"His  Glorious  Night."  The  whole  thing  is  a  satire,  and 
the  name  of  the  author  tells  any  well-read  person  so. 
It  is  not  to  be  taken  seriously  any  more  than  "The 
Love  Parade." 

I,  for  one,  cannot  forget  that  John  Gilbert  gave  me 
a  great  deal  of  enjoyment,  not  as  the  screen's  greatest 
lover,  or  anything  of  the  sort.  He  gave  artistic,  well- 
balanced  performances,  many  times  at  the  expense  of 
his  own  personality  as  the  hero.  Let  the  children  adore 
Joan,  Alice,  Clara,  and  Buddy.  Youth  calls  to  youth, 
and  the  world  would  be  dull  if  we  all  liked  the  same 
things.  But  I  and  other  adults  are  to  be  excused  from 
patronizing  these  babies. 

Nothing  would  please  me  more  than  to  see  John  Gil- 
bert make  the  biggest  comeback  of  them  all,  thereby 
adding  one  more  individual  whom  intelligent  and  adult 
audiences  approve.  The  screen  already  has  accomplished 
artists  in  Ruth  Chatterton,  Ina  Claire,  George  Arliss, 
and  Maurice  Chevalier — especially  Maurice.  Only  I 
must  not  start  raving  about  the  Frenchman,  or  I'll  never 
get  finished. 

That  brings  me  to  another  of  my  enthusiasms — 
Jeanette  MacDonald.  Notwithstanding  the  fact  that 
she  receives  little  praise,  I  hope  that  she  continues  to 
delight  our  eyes  and  ears  and  imaginations.  I've  seen 
"The  Love  Parade"  half  a  dozen  times.  I  suppose  that 
either  takes  me  out  of  the  infant  class  or  puts  me  back 
into  it.  "The  Love  Parade"  takes  first  prize  for  intoxi- 
cating nonsense,  if  for  nothing  else,  and  Pm  all  for  this 
kind  of  picture. 

I  believe  that  the  talkies,  with  their  influx  of  trained 
and  experienced  stage  folk,  have  raised  our  standards 
of  entertainment.  Once  the  initial  hysteria  is  ended, 
the  talkies  will  settle  down  and  offer  us  reasonable  en- 
tertainment.     Here's   hoping,   too,    that    talkies    will   be 


i:; 


talkies  ami  singies  singies,  and  we  will 
not  be  forced  to  listen  to  mediocre  - 
every  time  we  ao  to  the  m 
nd-rate  vocalizer  will  last  onlj 
until  the  trained  singers  have  developed 
a  microphone  technique,  and  then  tney 
will   be   out   of    singing    role-,   and    whj 

Dot  i.L.AS    M.u  1'ak: 

215  W  aukawa  Avenue, 

■  olid,    Indiana. 

A  Mail  Secretary  Speaks. 
I    cann  ■•■        S  imuel    Richard 

Hook  that  it  would  be  the  same  to  write 

to  the  government    tor   such   and    such   as 
rite  to  th«  t  their  photos,  nor 

can  I  blame  Robert  Greaves  for  his  dis- 
at    the   way    t'.ie    fan    mail    was    han- 
dled  in   the   instances   he   related   in   April 
PiCTuai  Play. 

eel  it  a  duty  to  write  on  the 
subject,  a-  1  feel  I  am  in  a  position  to  see 

First    and    foremost,    I    live    in    Holly- 

dly,    I    have    access    to    the 

studios.     Thirdly,    I    know    many    -tar-    in 

•i.    and,    fourthly,    I    am    a    fan-mail 

This,   1  believe,  enable-  me  to 

<  with  authority. 

I  have  known  occasions  where  fan  mail 
has  been  horribly  neglected  ar 
of  it  burned  unopened.  One  studio  has 
an  efficient  fan-mail  department,  and  an- 
other has  the  utmost  contempt  for  it.  The 
of  one  studio  are  powerless  to  do 
much  about  it,  unless  they  employ  per- 
sonal secretaries.  Then,  again,  some  stars 
hire  fan-mail  secretaries  and  they  become 
ess,  though  the  stars  are  nut  aware 
of  this,  and  others  are  conscientious  and 
take  excellent  care  of  mail. 

I  know  one  -tar  who  wants  his  fan 
mail  taken  care  of,  but  his  wife  tells  him 
he  cannot  afford  it,  so  the  letters  are  neg- 
lected. Another  leaves  it  to  the  studio, 
and  the  studio  fails  to  supply  the  head  of 
the  fan-mail  department  with  enough  help 
Ice  proper  care  of  the  mail,  so  this 
star's  mail  is  neglected.  Another  star 
will    not    both-  -  fan    letters,    unles- 

they    contain    money,    while    another 
not  accept  money,  but  returns  any  sent. 

All  the  stars  I  know  appreciate  their 
fan  mail.  To  the  picture  actor  it  i-  the 
same  as  applause  to  the  stage  player — 
the  only  way  they  can  determine  whether 
their  performances  have  p!ea-ed. 

But  the  producers  look  only  for  box- 
office  returns,  judging  the  star  by  t; 
turns  his  picture  brings,  and  never  seem- 
to  realize  that  many  of  us  may  dis- 
like the  star,  but  will  see  the  picture  if  it 
includes  some  actor  we  like. 

It  has  been  my  opinion  that  stars  ap- 
preciate their  fans,  while  producers  and 
studio  officials  look  down  upon  the  fans 
who  write.  They  seem  to  forget  the. 
their  own  living  to  th. 
out  them  there  would  be  no  box- office 
returns.  K.  S.  Cottini.h 

Hollywood,    California. 

About    Asther's    Eyes. 
I  have  had  the  good  fortune  to  see 

r  in  person  at  the  Chicago  Theater, 
and   he   i  ich   the   per-on    we 

on  the  screen. 

His    hair    is   black    and    wavy,   his    -kin 
dark,    and    ;.  ire    very    blue. 

This    surprised    me,    for    I    have    re.. 
many  times  that  his  eyes  are  hazel, 
best  of  all,  his  voice  is  perfect.    The  pitch 
low — very'     melodious — and      certainly 
should    rezi-ter    one    hundred    per    cent. 

delightful ;  t! 

son  why  it  should  hinder  his  career.     Hi 

pronunciation    of    the  -    the 

mo?t    Swedish    thing    about    him 

Continued  on  page  116 


disfiguring  hair  growths 

permanently  destroyed— 

(not  merely  removed) 

The  undergrowth  must  also  be  removed 
in  order  to  prevent   a  bristly   re  growth 


Applied  as  easily  as  cold  cream, 
ZIP  gets  at  the  cause  ....  the  roots 
....andpermanenr/y  c/esf>oys  hair 
growths.  So  simple;  so  rapid;  and  so 
pleasant  to  use  since  special  provision 
has  been  made  in  its  preparation  so 
as  to  avoid  any  semblance  of  pain  or 
discomfort.  Ideal  for  face,  arms,  legs, 
body  and  underarms. 

Harmless — Painless 

ZIP  is  not  to  be  confused  with  de- 
pilatories which  merely  burn  off  the 
surface  hair  temporarily/#by  chemical 
action.  ZIP  attacks  the  undergrowth 
and  roots  . . .  and  in  this  way  destroys 
the  growth.  It  is  also  entirely  different 
from  ordinary  '  wax"  treatments  made 


to  imitate  the  genuine  Epilator  ZIP. 
After  years  of  research  this  safe  and 
painless  product  was  created.  Re- 
member,  there  is  no  other 
Epilator. 

ZIP  leaves  no  trace  of  hair  above 
the   ski;,;  no  prickly  stubble  later  on; 
no  dark  shadow  under  the  skin. 
A  Permanent  Method 

It  is  a  harmless,  fragrant  compound 
containing  no  sulphides.  Moreover, 
there  are  no  disagreeable  fumes,  no 
discoloring  of  porcelain  and  tile.  ZIP 
acts  immediately  and  brings  lasting 
results.  You  will  be  delighted  and  you 
risk  nothing,  for  ZIP  is  sold  on  a 
money-back  guarantee  basis. 


Simply  ask  for  ZIP 
at  your  favorite 
Druf  Stora  or  Toilet 
Cooda      counter 


J   Specialist 

562 "FIFTH  AVENUE,  NEW  YORK 

Entrance  on  44th  Slfl 


i\1  itj.irne  Berthi,  Specialist 

562  FIFTH  AVE..  NBW  YORK 
By  mail,  in   plain  I 

-\y  frrr 
of  hair.  ANo  tend  "Brauty's  Greatcat 
'  without  charge. 


Verne  .... 
AJdrrtB 


Treatment,  or  Dent' 
onuratiun  without 
charge  in  New  Yurk 
only     at     my     Salon 


ITS  OFF 

because 
ITS  OUT 


City  &■  State  

Overcome  Annoying  Ptrspiraf.on  with  //#-$CDV\   HaWmltStt  Colorless  Deodorant,  500 


14 


A  Hundred  Million  Eager  Hearts 
Await  Their  Coming  To  The  Screen ! 


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15 


PICTURE  PLAT,  August,  1930  Volume  XXXII     Number  6 


-  hwrAmn 

It   one  page  oi    PlCTUKE   PLAY   is  more  honorable  than   the  Others,  then  it   is  right  that   Nancy   Carroll   should 
occupy  this  one  ahead  of  all  the  rest.    For  her  performance  in  "The  Devil's  Holiday"  entitles  her  to  pi 

by  reason  of  her  pronounced  talent — a  talent  that   fully  justi:  tardom  she  enjoys,   for  she  is  alone  in  the 

ability  to  sinj:  and  dance  in  musical  comedy  and  play  a  poignant  dramatic  pM<\     A  shower  of  gold  Stars  101 


16 


A  girl   in  a  dance  number  like   this  has   a  better  chance 
of  being  spotted  by  the  director  than  if  she  were  an  extra. 

TALKIES,  a  revolution  themselves,  have  brought 
other  revolutions  in  their  wake.  They  have 
wrought  chaos  in  all  levels  of  picturedom.  They 
have  closed  the  oldest,  the  most  familiar  entrance  into 
the  movies,  and  opened  new  ones.  And  not  the  least 
astounding  development  they  have  been  responsible  for 
is  that  they  have  made  New  York  City  the  best  place  for 
breaking  into  pictures  once  more,  as  it  was  fifteen  years 
ago,  but  for  an  entirely  different  reason. 

That  is  what  I  learned  in  a  thorough  investigation  of 
activities  in  the  East,  which  I  made  in  preparing  this 
article. 

From  studio  officials  of  all  sorts,  from  casting  direc- 
tors, directors,  and  producers — some  of  them  in  the  East 
on  a  visit  from  Hollywood  studios — from  workers 
around  movie  lots,  and  even  from  some  of  the  extras 
with  whom  I  talked  and  worked. 

Why?  Certainly,  I  reasoned,  there  are  more  studios 
in  Hollywood  than  in  New  York.  There  is  more  extra 
work  there.  And  hasn't  the  best  method  of  breaking 
into  pictures  always  been  to  start  as  an  extra? 

"Xot  now!"  was  dinned  into  my  ears  wherever  I 
went.  "Talkies  have  changed  that,  among  other  things." 
I  was  to  sec  for  myself  and  hear. 

I  decided  to  start  by  putting  myself  in  the  position  of 
a  person  trying  to  break  into  talkies.  I  wanted  to  learn 
firsthand  whether  the  extra  in  talkies  had  a  better  or 
worse  chance  of  getting  on  than  the  extra  in  silent  pic- 
tures. So  1  went  to  Paramount's  Long  Island  studio 
and  applied   for  a  job. 

Production  was  booming  there.  They  planned,  I  had 
read,  to  make  eighteen  or  twenty  features  and  from  one 
to  two  hundred  shorts  during  the  year.  That  meant 
about  one  and  a  half  features  a  month,  and  from  two  to 
four  shorts  a  week.  That  meant  plenty  of  work  for 
extras.     More  than  in  the  other  Eastern  studios. 

T  was  given  work  almost  at  once  in  the  masquerade 
sequence  of  "Dangerous  Nan  McGrew,"  starring  Helen 
Kane.  I  knew  some  one  in  authority  there.  Otherwise, 
I  mighl  have  waited  weeks,  even  months,  to  get  the  job. 

The  following  morning  I  went  to  work  at  eight  o'clock. 


Tour  Chance 

Every  one  knows  what  the  extra  in  silent  pictures 

do    not    know    to    what    extent    conditions    have 

wants  to  know  what  opportunities,   if  any,  exist 

this  article  you  will  learn  inside  facts 

B?  Mignon 

Three  girls  were  in  my  dressing  room,  one  in  Juliet 
costume,  the  others  uncostumed.  The  first  was  an  at- 
tractive blonde,  obviously  just  out  of  school  and  working 
in  the  studios  for  the  first  time.  The  second  was  also  a 
newcomer.  Her  brother  worked  as  electrician  on  the 
lot.     The  third  had  played  parts  in  Canadian  pictures. 

All  had  high  hopes  of  being  singled  out  of  the  mob, 
and  said  so  quite  frankly.  This  is  important,  because 
their  attitude  was  so  different  from  that  of  the  more 
experienced  extras  outside. 

The  hallway  was  crowded  with  them.  They  preened 
themselves  in  the  mirror  and  chatted  with  each  other. 
Some  of  them  had  worked  a  number  of  times,  both  in 
Hollywood  and  New  York. 

"Costume  pictures  are  more  fun_  than  others,"  one 
of  the  girls  said ;  "you  feel,  at  least,  that  you're  playing 
a  part,  even  if  you  know  you  won't  get  within  range  of 
the  camera."  There  was  a  tone  of  futility  in  her  voice. 
She,  too,  hoped,  but  knew  from  experience  what  to 
expect. 

Still  she  smoothed  her  hair  as  carefully  as  though  she 
were  getting  ready  to  have  a  close-up  taken. 

I  was'  fitted  into  a  long  blue-velvet  robe,  with  huge 
train,  and  an  extravagant  headgear  of  silver  and  blue 
was  arranged  on  my  head.  Mary,  the  wardrobe  mis- 
tress, was  nice  about  fixing  me  up.  She  had  to  sew  me 
into  my  dress,  which  was  several  sizes  too  large. 

Back  in  the  dressing  room,  a  make-up  boy  came  in 
to  help  us.  Talkies  have  even  influenced  studio  make-up. 
Since  their  arrival,  a  more  sensitive  film  is  used  in  most 


17 


In  Talkies 

had  to  contend  with  in  breaking  in.  But  outsiders 
changed  with  the  new  order  of  things.  Everybody 
to-day.  In  the  careful  investigation  reported  in 
derived    from   actual   experience. 

Rittenhouse 


studios,  and  a  new  make-up  is  employed.  This  consists 
.  dark-tan  powder  with  a  liquid  base,  applied  with  a 
damp  sponge.  It  takes  the  place  of  the  grease  paint 
formerly  used.  Instead  of  taking  a  tedious  half  hour  or 
more  to  apply,  as  grease  paint  did,  it  can  be  put  on 
othly  in  a  few  minutes.  Brown  lipstick  is  now  used 
instead  of  red. 

While  making  up.  we  saw  hundreds  of  men  outside 
our  window,  milling  about  the  side  entrance.  The 
make-up  boy  told  me  they  were  speculative  extras — soda 
jerkers.  white-collar  men.  laborers  hit  by  the  unemploy- 
ment wave.  Here  and  there  among  them  he  pointed  out 
an  old-time  extra.  All  hoped  for  a  lift  out  of  their 
financial  trouble,  easy  movie  money,  perhaps  a  contract. 

Day  after  day  they  came  to  the  studio,  attracted  by 
the  news  that  Paramount  was  active.  They  hoped  the 
casting  director  would  poke  his  head  out  the  window 
and  call  them.  When  he  called  for  fifty  men,  as  he 
did  once  in  a  great  while,  three  hundred  of  them  stam- 
peded to  get  the  jobs.  Several  times  police  had  to  be 
summoned  to  quell   near  riol 

The  boy  shook  his  head.  "If  they  only  knew — they 
don't  stand  a  chance!     But  then,"  h<  ed,  "neither 

•iv  of  the  untrained  extras  who  work  here." 

•'Why?"   I  ask 

Then  he  told  me  what   1  in  and  again 

from  men   in  high  positions,   in   the  of   my    ni- 

dation. 

"They  -till  have  the  old  idea  that  once  working  inside 
the  studio,  thev're  in  the  movies  and  n.  a  chance 


The    Paramount    studio    in    Astoria    beckons    the    aspirant, 
because  it  is  the  center  of  production  in  the  East. 

to  stay,"  he  said.  "Oh,  yes,  they  tell  you  they're  just 
working  for  the  money.  Did  you  notice,  though,  how 
mad  the  girls  were  about  getting  unattractive  costum 

"The  directors  ]>ut  all  the  extras,  except  the  actors 
whose  work  they've  seen  on  the  stage,  and  the  dancing 
twirls,  into  a  pigeonhole.  Even  more  than  they  used  to. 
Extras  didn't  have  much  chance  in  the  old  days.  In 
talkies,  they  haven't  any.  Doing  extra  work  won't 
them  anywhere." 

In  the  hall  as  we  went  down  to  the  set.  we  passed  a 
group  of   chorus   girls   in   white    fur-trimmed    costumes. 
They  had  been  brought   from  a  dancing  school   for  an 
mble  number.    They  stood  off  by  themselves,  avoid- 
ing the  extras. 

Then  the  huge  set.  The  kaleidescopic  costumes  made 
a  gorgeous  effect.  It  seemed  a  pity  that  Technicolor 
wasn't  to  he  u^ed.  Men  and  girls  chatted  gayly  together. 
The  orchestra  tuned  up.  The  director  appeared.  Things 
now  seemed  much  the  same  as  in  the  silent-picture  days. 

Suddenly  through  an  amplifier   from  a  sound  booth 
off  the  set  boomed  the  word,  "Silence!"     That  loud  im- 
mal  voice  was  to  he  heard  often. 

Then    I    realized,    and    not    till    then,    how    completely 
gone    was   the    informality   of    silent-film    days.       Tall 
have  certainly  brought  efficiency  to  the  studio  ry- 

thing  must  he  done  to  hells  and  schedule  We  seemed 
part  of  some  gigantic  machine. 

Throughout  the  morning  it  was  like  that.    We  dai 
we  posed,  we  threw  confetti,  we  talked.      But   not   in  the 
old  haphazard  way.     The  dancing  girls  did  their  nun 
three  times.     Things  went  off  like  clockwork. 

I    had    worked    on    jets    in    silent    picture-,    and    I 
that  even  in  Riol  'his.  dm  ten 

called   on  extras   for  hits  of  business.     Any  one 
looked   the  type  might  be  chosen.      Experience  didn't 
matter.      My   fir-t    day   on   any  •  ral   other   1 

comers  and   [  wei  -mall  hits  of  action. 

Here    I    noticed    that    none    of    the    extra  ailed 

Upon  for  anything  in  particular.     None 

:rl  told  me  that  the  day  before  one  of   •' 
had  been  gi  ething  to  do  ai 


18 


Your  Ckance  In  Talkies 


Helen    Kane,    with    Roberta    Robinson    and    Stuart 
Erwin,  in  a  scene  from  "Dangerous  Nan  McGrew." 


Frank  Heath,  casting  director,  says  that  the  extra 
most  in  demand  doesn't  make  $100  a  month. 


informed,  she  was  a  show  girl,  and  had  spoken  lines  in  a 
Broadway  play.  She  was  not  an  extra  in  the  ordinary  sense 
of  the  word. 

Even  this  was  unusual,  I  discovered  later  in  talking  with 
Frank  Heath,  the  casting  director.  Directors  had  learned  from 
experience  not  to  trust  even  one  line  to  untried  people,  no 
matter  if  they  did  look  the  type. 

In  the  experimental  days  of  talkies,  directors  handed  out 
lines  to  promising-looking  novices.  Almost  always  the  people 
had  been  attacked  with  microphone  fright  and  muffed  them. 
Sometimes  five  hundred  feet  of  film  had  to  be  reshot.  It  was 
expensive.  Directors  weren't  doing  it  any  more ;  it  was  too 
risky. 

Thanks  to  the  god  efficiency,  we  were  through  earlier  than 
we  would  have  been  in  the  silent-picture  regime.  At  two  p.  m. 
we  were  getting  our  cards  O.  K.'d  by  the  assistant  director.  A 
few  moments  later  we  were  removing  make-up  and  putting  on 
street  clothes. 

The  girls  dressing  with  me  were  awfully  disappointed  that 
their  day's  work  had  come  to  nothing.  They  hadn't  been  se- 
lected for  bits,  nor  told  to  come  back.  They  hadn't  even  had 
their  names  and  addresses  taken  by  the  assistant  director,  and 
told  they'd  be  kept  in  mind.  One  confessed  it  took  her  weeks 
to  get  the  job.  But  on  one  score  all  of  us  were  greatly  pleased. 
We  were  given  ten  dollars  for  a  short  day's  work. 

Later  I  went  to  the  casting  director.  I  asked  him,  "Has  the 
extra  a  chance  of  getting  anywhere  in  talkies?" 

"Untrained  extras  ?"  He  shook  his  head,  and  gave  me  to 
understand  that  even  the  most  promising  novice  ordinarily  has 
about  the  same  chance  of  attracting  attention  as  he  would  have 
of  climbing  to  Mars  on  a  bean  stalk. 

"Working  in  talkies  as  extra,  and  getting  ;';/  talkies,"  he  de- 
clared, "are  different  things.  Naturally  the  extra  with  stage 
training  and  the  girls  in  the  dance  numbers  are  regarded  as 
something  else  again.     They  stand  considerable  chance. 

"I've  a  man  working  here  for  fifteen  dollars  a  day  now,  an 


I  our  Chance   In  Talkies 


[9 


actor  who  gets  four  hundred  dollars  a  week  when  he's 
playing  on  Broadway.  Hard  times  forced  him  to  pick 
up  any  money  he  could  get.  He's  in  a  class  by  himself. 
If  the  occasion  arises,  we'll  be  glad  to  give  him  lines. 

"I  don't  like  either  to  encourage  or  discourage,  hut 
I'll  say  this:  that  doing  extra  work  in  talkies  usually  means  nothing,  so 
far  as  a  real  career  is  concerned.  It's  a  way  of  earning  pin  money — darn 
poor  pin  money.  We've  had  a  slump  here  and  things  are  only  beginning 
to  pick  up.  But  even  the  extra  most  in  demand  doesn't  make  a  hundred 
dollars  a  month." 

From  Paramount  I  went  to  the  studio  in  Brooklyn,  where  the  Warners 
make  their  short  pictures.  There  I  interviewed  Arthur  Hurley,  for  twenty- 
five  years  a  stage  director,  now  directing  talkies.  His  was  a  most  dis- 
couraging story. 

"We've  more  extras  than  we  need,  as  usual,"  he  told  me.     "But  our 
re  almost  all  actors  picking  up  money  between  stage  jobs. 

"You  may  be  sure  I'm  not  handing  out  lines  to  inexperienced  people. 
I'm  an  ex-stage  director.  Kr.:\v  better.  The  vocal  cords  are  the  first 
things  affected  by  nervousness.  I  wouldn't  intrust  a  line  to  an  untried 
extra,  no  matter  how  promising  he  looked.  You'd  be  surprised  how  some- 
times even  an  actor  accustomed  to  appearing  before  crowds  nightly  gets 
microphone  fright." 

I  went  away  feeling  that  the  extra's  chances  were  ebbing  pretty  low. 
I  thought  I  would  investigate  the  Poverty  Row  of  the  East.  When  a 
player  was  hard  pressed  lor  work  in  Hollywood,  he  used  to  visit  the 
studios  where  pictures  were  made  on  a  shoe  string.  It  was  easier  to  get 
work  there :  easier  to  attract  notice  than  in  the  big  studios. 

So  I  went  over  to  Fort  Lee,  Xew  Jersey,  where  independent  companies 
are  making  talking  quickies  in  the  old  studios.  I  hoped  to  hear  a  kindly 
word  for  the  extra  there,  if  only  for  old  times'  sake. 

For  it  was  at  the  Paragon,  Ideal,  Phoenix,  Universal,  and  other  old 
studios  in  this  town,  that  early  movie  history  was  made  more  than  fifteen 
years  ago.  Mary  Pickford,  Norma  Talmadge,  the  Moore  brothers,  the 
late  Mabel  Xormand,  Fatty  Arbucklc,  and  numerous  other  celebrities 
familiar  figures  on  the  streets.  Many  an  occupant  of  a  Beverly  Hills 
man-ion  started  as  extra  in  this  sleepy  town,  which  seems  to  live  now 
tly  in  memori 

I  visited  three  studios.     Wherever  I  went  I  heard  the  same  old  story, 
n  more  emphatic  terms  than  elsewhere. 

''We  bring  our  extras  from  Xew  York,"  said  a  producer  at  the  Para- 
gon studio.  "They're  all  good  actors.  We  know.  we've  Been  them 
on  the  stage.  When  pictures  are  made  as  cheaply  and  quickly  as  we're 
obliged  to  make  them  in  order  to  profit,  we've  got  to  have  reliable  people. 
an't  take  a  chance.  On  a  few  minutes'  notice  all  our  players,  whether 
they're  filling  in  as  extras  or  not,  have  to  learn  lines  and  be  able  to 
speak  them. 

I  recite  them,  or  deliver  them,  you  under  them. 

:'ten  our  companies  rehearse  and  [Continued  on  pagi    104] 


High   hopes  are   rampant   in 
the    hearts    of    these    extras 
waiting    outside     the 
mount  studio. 


Para- 


Mignon 
Ritten- 
house, 
the 

writer 
of  this 
article, 
in 

''Danger- 
ous Nan 
McGrew." 


20 


Tkeir  Only  Rival 


These  stars  find  their  own  reflec- 
tions not  at  all  bad  as  stimulus  to 
optimistic  trains  of  thought. 


Alice  White,  right,  pen- 
sively eases  the  sting  of 
mimic  fan  criticisms  by 
recalling  that  she  rates 
high  with  the  box-office 
keepers,  and  that  it's 
the  ticket  buying  that 
rcallv  counts. 


Loretta  Young,  below, 
will  never  get  heady  as 
long  as  she  can  smile 
in  such  an  amused  man- 
ner at  herself,  even 
though  she  is  the  first 
choice  of  battalions  o£ 
fans. 


Corinne  Griffith,  above,  completes 

the  picture  with  flowers  and  the 
reflection  she  sees,  although  she 
modestly  may  refuse  to  say  it 
aloud,    is    more    than    reassuring. 


June  Collyer.  left,  also  deep  in 
reflection,  one  might  say,  stands 
aside  so  you  can  better  see  the 
full  effect  of  this  out-of-the-ordi- 
nary   pose. 


21 


Lawrence  Tibbett. 


Charles   Bickford. 


Walter  Huston. 


Are  Handsome  Heroes  "Out"? 

The  rugged  brotherhood   is  giving  the  Adonis  profiles  a  battle  for  romantic  supremacy,  but  are  they 

the  stuff  that  dream   lovers  are  made  of? 

B?  Elsi  Que 


BLAME  the  roguish  Lawrence  Tibbett,  girls,  for  the 
surprises  that  are  in  store  for  you  in  the  way  of 
screen  heroes  during  the  next  year  or  two.  You 
may  not  care  for  them — in  fact,  you  probably  will  close 
-  nd  moan,  "For  Heaven's  sake,  sing!"  during 
some  of  the  close-ups.  But  try  to  get  used  to  them,  be- 
cause you  are  in  for  a  good,  long  siege  of  the  rugged, 
virile  he-man  with  a  heart  of  gold,  hair  on  his  chest, 
and  a  face  that  only  a  mother  could  love. 

It  all  started  at  Grauman's  Chinese  Theater  in  Holly- 
id,   when   "The   Rogue   Song"   was   mobbed   by   the 
entire  beskirted  population  of  Los  Angeles.     Producers 
ring  around   that  gaudy  edifice  during  the   Tibbett 
>k  one  look  at  the  crowds,  another  at  the 
en,  to  make  sure  their  eyes  weren't  deceiving  them, 
and  rushed  frantically  back  to  the  home  lots  where  they 
rounded  up  all  the  profiled  Adonises  on  the  pay  roll  and 
canned  them,  en  masse,  as  overt  acts  of  ( Jod. 

Thi-  explains  why  you  will  look  longingly,  but 

in  vain,  for  the  handsome  boys  of  yesteryear.     In  time. 

»ur  protests  will  register.     When  the  returns 

i  the  hinterland  come  in,  the  producers  will  grog- 

gily  come  to,  and  realize  that  masculine  beauty  has 

'ban  voice  deep  to  interest  the   forty  million 
men  of  the  country  who  live  elsewhere  than  in  Holly- 
id.     However,  it  will  take  at  least  two  years  for  this 
painful  truth  to  strike  home  and.   in  the  meantime. 
may  as  well  accept  the  situation  as  gracefully  as  possible. 
The  *'k  phenomenon  is  the  sort  of  thing 

that  is  alwa  tting  Hollywood's  equilibrium.    A 

all,  it's  just  a  village,  and  like  villagi  the 

oncerned  with  what  happens  on  the 
local  Main  Street  than  with  affairs  in  t'  rid. 

However,  our  village  is  unique  in  that  il 
the  screen,  is  so  tremendous  and  far-reaching.     V 
already  seen  how  fashions  in  cl 
sartorial  whims  of  certain  in   man; 


and  even  morals,  are  launched  from  the  same  source. 
It  isn't  surprising,  then,  that  fashions  in  types  and  per- 
sonalities should  rise  and  fall  according  to  what  happens 
to  be  the  success  of  the  moment  in  Hollywood. 

Lawrence  Tibbett's  first  picture  broke  over  the  town 
at  a  moment  when  nearly  everybody  in  it  was  gripped 
in  the  throes  of  voice  culture.  From  the  starriest  Mar 
to  the  most  insignificant  extra,  Hollywood  was  simply 
voice  mad;  and  when  Hollywood  goes  wild  over  some- 
thing it  natural! v  follows  that  Los  Angeles  and  the  other 
suburbs  are  likewise  affected.  Hence  the  Tibbett  ex- 
citement :  and  hence  the  new  style  in  leading  nun. 

Far  be  it  from  me  to  deprecate  the  Tibbett  talent,  or 
that  of  any  of  the  rest  of  the  rugged  brotherhood  who 
threaten  to  supplant  some  of  our  more  comely  favorit 
I  enthusiastically  admit  their  vocal  and  histrionic  ability. 
George  Bancroft,  for  instance,  and  Charles  Bickford, 
and  Walter  Huston — fine  actors,  all.  Casl  as  misunder- 
stood gunmen,  noble  coal  heavers,  or  heavies  of  almost 
any  description,  they  win  my  hearty  applause.  Bui  as 
romantic  lovers — girls.  I  ask  you!  If  you  have  an  argu- 
ment with  the  boy  friend  about  it — and  you  will,  because 
most  men  are  in  favor  of  the  new  style  of  lover  for 
quite  obvious  reasons — ask  him  how  he'd  like  to 
Marie  Dressier  or  Polly  Moran  playing  opposite  Ronald 
■nan  or  John  Gilbert!  Then  maybe  he'll  understand 
why  you  can't  develop  a  romantic  thrill  when  I 
Bickford  embraces  the  gorg<         '     •!>".  or  <  Ban- 

croft males  ponderous  love  to  s,„n,.  fragile,  beautiful 
damsel  half  his  age  and  a  third  of  his  pound 

dl  in  the  point  of  vi<  \  iew. 

imantic  ne  must  be  pictorially  pleasing  to  be 

entirely  convincing.    In  real  life,  some  of  the  m 
cinating  men  and  women  are  downright  ugly,  if  you  stoji 

which  i  :  don't.  . 

you  have  fallen  under  the  spell  of  t1  put 

•  -Mill  '1     "II 


22 


Quick,  Watson, 

This  is  the  hurry  call  most  often  heard 
whose  shop  come  all  the  heroes  of  the 
idiosyncrasies,  extravagances  and  econ 

that  you  never 


I'hoto  by  IIiTiilrickson 

Fulton    T.    Watson,    right,    gives    his    stamp    of    approval    to    Ivan 

Lebedeffs   dress   clothes,  while   Bud  Watson,  his  son  and  partner, 

gives  his  final  scrutiny. 

GEE,  you  look  swell  to-night,"  I  murmured  to  the  lady  who 
goes  to  the  theater  with  me.    "New?" 
"Oh,  no.     Last  year's.     I  just  had  another  tier  of  net 
put  on  the  skirt  so  it  reaches  to  the  floor." 

"Must  be  fun  buying  clothes  for  girls.  You  can  buy  anything 
from  black  to  purple,  with  ruffles  and  doodads,  and  look  entirely 
different  every  time  you  put  on  a  different  dress.  Men's  clothes 
are  all  alike." 

She  gave  me  a  pitying  look — or  maybe  it  was  a  withering  look. 
1   don't  know.     I'm   funny  that  way. 

"Is  that  so?"  said  she.  "Well,  let  any  leading  man  wear  a 
suit  in  more  than  two  pictures  and  listen  to  the  howl  that  goes  up !" 

"Well,  they  all  look  alike  to  me,"  I  argued.  "What's  different 
about  them  ?" 

"Find  out  where  they  get  their  clothes  and  go  find  out  for  yourself," 
she  answered.     "Let's  talk  about  me  some  more."     So  I  did. 

On  the  second  floor  of  the  Rank  of  America  Building  in  Hollywood 
is  a  firm  of  tailors  known  as  Watson  &  Son.  In  the  course  of  a  week 
you'll  meet  your  favorite  and  most  of  the  other  leading  lights  of  the 
cinema  there,  all  trying  to  get  something  different  in  the  way  of  mas- 
culine attire. 

I  ran  into  Buddy  Rogers  trying,  between  phone  calls  from  admirers 
who  bad  tracked  him  down,  to  select  his  wardrobe  for  "Follow 
Thru."  First,  he  got  a  red-brown  tweed  suit  with  a  pair  of  knickers. 
"I  think,"  said  Buddy,  "I'll  have  this  a  single-breasted  sack  with  patch 
pockets.  I  haven't  bad  a  brown  suit  with  patch  pockets  lately.  And,  oh, 
yes.     See  that  the  plaits  in  the  front  of  the  trousers  are  good  and  full." 


Bv  S 


I 


amue 


He  thumbed  through  bolt  after  bolt  of 
material.  "Here's  a  hot  number,"  indi- 
cating a  light-buff  flannel.  "Make  this  up 
in  a  four-piece  golf  suit.  The  coat  can  be 
a  Norfolk  jacket  with  plaits  at  the  side. 
Better  'stay'  the  back  so  the  plaits  don't 
pull  out." 

A  light  green  was  next  selected  and  for 
some  inexplicable  reason  the  cut  of  this 
suit  was  left  to  the  judgment  of  the  Wat- 
sons. 

Then  a  black-and-white  very  closely 
checked  serge  was  chosen.  Buddy  was 
wildly  enthusiastic  about  this  pattern  and 
the  choice  of  the  style  was  accompanied 
by  frequent  exclamations  of  "Gee!"  and 
"Ooh !"  It  is  being  made  single-breasted, 
with  a  low,  flat  col- 
lar; very  broad, 
square  shoulders ; 
small,  sharp-peaked 
lapels;  extreme 
cut-in  waist ;  slash 
pockets;  double- 
breasted, 
high-waisted 
vest  and  very 
high-waisted 
trousers  with 
welted,  hand- 
stitched  seams 
down  the  sides 
and  very  small 
— eighteen- 
i  n  c  h  —  bot- 
toms. Hot 
diggity  dog! 

"Buddy's 
clothes     are 
quite  a  prob- 
lem," said  Mr. 
Watson.    "He 
plays  more  or 
less  college-boy  parts 
and    has    to    wear 
tricky  clothes.  That's 
right    up    his    street, 
because  he  likes  his 
suit's    fancy.      When 
he  first  came  to  Hol- 
lywood, everything 
had  to  be  very  con- 
servative,    but     now 
he's    branching    out. 
He  likes  patterns  that 

Robert     Montgomery 

fidgets     and     squirms 

while    being    fitted. 


The  Needle! 


by  Hollywood's  leading  tailor  into 
movies,  there  to  reveal  vanities  and 
omies.  This  affords  a  glimpse  of  them 
have  had  before. 

Richard  Mook 

arc  distinctive  and   that   he   is  unlikely  to 
iny  one  else  wearing.     On  the  screen 

s  clothes  in  keeping  with  the  char- 
acter he  is  playing,  but  off  the  screen  - 
well,  to  put   it   mildly,  his  clothes  wouh 

certainly  make  the  Prince  of  Wales  turn 
around  for  a  second  look  !" 

Xeil  Hamilton  dropped  in  tor  a  blue 
flannel.  "Single  breasted,  patch  pocket-." 
said  Xeil. 

"And  make  it  out  of  unshrunk  ma- 
terial." !  vd.  "Then  the  first  time 
it  git-  wet  I  can  buy  it  cheap." 

"Xeil  wears  nice  clothes,"    Mr.  Watson 
informed  me  when  he  had  left.     "Tweeds 
and  dark  patterns,  always  very  plain  and 
inconspicuous  such  as  the  average  business 
man  wears.     William  Boyd.  Robert  Arm- 
Raymond    Hackett.    James 
Hall.     Robert      Montgomery,     and 
Grant   Withers  all   wear  about   the 
same  sort  of  suits,  too. 

"Jimmy  Hall."  he  went  on. 
the  easiest  person  in  the  world 
sell  clothes  to  in  one 
way.  but  in  another  he's 
the  hardest  He'll  come 
in,  select  about  ten  pat- 
terns and  tell  us  to  go 
ahead  and  make  them 
up.  In  about  three  days 
he  calls  up  and  wants 
to  know  where  his 
clothes   are.      We    - 

hat  he  come  in  for  a  fitting. 
He'll  come  in.  stay  long  enough 
to  let  us  fit  maybe  two  suits,  and 
off  1  We  finish  the  two 

suits  and  send  them  out.  A 
month  later  he'll  call  up  and  want 
to  know  where  the  rest  of  them 
are  and  when  we  tell  him  he's 
never  had  them  fitted,  he'll 
'Oh.  just  go  ahead  and  make  them 
up  the  same  as  the  other 

"Bob  Montgomery  is  another 
one  we  have  our  troubles  with. 

ng   as  we   i 
him.  but  we  almost  have  I 
on  our  heads  to  fit  him.     i 

and  squirms  and  if  wc  leave  him 
a  second,  when  we  come  back 
we'll  probably  find  him  on  the  fl 
playing  with  his  dog.  and  the  pins 
we  -pent  hours 

sticking  into  his  Basi,  Rathbone  is 
suits  will  be  heid  responsible 
scattered  all  for  billowy  trou- 
over.  sers.    hieh-waisted  and 


with    plaits   galore. 


Buddy  Rogers  likes  his  suits  fancy,  and  the  fitters  see  to 
it  that  pockets  are  tricky  and  trousers  are  intricate. 

"He  isn't'  the  only  one  like  that,  either.  Arthur 
Lake  is  another.  If  you  turn  your  hack  on  Arthur 
for  a  second,  down  he  goes  on  the  floor  to  read  the 
comic  strips  in  the  paper.  Once  he  was  lying  in 
t lie  corner  by  the  door  and  a  man  came  in  and 
stepped  on  him.  We've  been  trying  ever  since  to 
figure  winch  let  out  the  loudesl  yelp,  the  stranger 
or  Arthur. 

"Arthur  wears   very  collegiate  cloth,  rl   of 

modification  of  his  Harold  Tun  -tuff.    The  sort  of 
things    high-school    hoys    go    in    for.      Pretty    1' 
fitting." 

It   wasn't  hard  to  conjure  up  a   vision  of   Arthur 
Sprawled    on   the    floor,   and   now    I    know    where   he 
ondhand  wis 
Lebedeff,  who  is  noted   for  hi-  clotl 
well   a-   hi-   hand-k:  in    for   the   military 

of  garment.    Very  tight  and  smooth  lit! 
(  >uen    Moore,  on   t:  'iand,  v. 

lain 
and  itive  in  cut.  and.  ult,  is  kl 

in  Hollywood.     Many 
of  the  prominent  men  of  tin 

nt   their  dotl  What    i 

t  that 

•   their  calculatii 
:  is  the  rather  fl. 


24 


Quick,  Watson,  The  Needle! 


gentleman    built 

much  along  the 
same  lines  as 
Fatty     Arbuckle 

a  a  (1  Walter 
1  Tiers.  The  fact 
that,  in  appear- 
ance, he  is  the 
direct  antithesis 
of  Owen  doesn't 
faze  Bert.  What 
Owen  wears  is 
what  Bert  in- 
tends to  wear, 
and  no  amount 
of  argument  or 
reasoning  will 
change  him.  "If 
I  don't  look  well 
in  them,"  Bert 
insists,  "it's  just 
too  bad  for  me. 
At  least  I  know 
they  were  copied 
from  a  very  good 
model." 

And  George 
O'Brien  is  an- 
other who  fa- 
vors the  English 
mode,  as  loose- 
fitting  garments 
become  him  very 
well  because  of 
his  splendid  fig- 
ure. 

Conrad  Nagel, 
who  dresses  in 
very  good  taste 
in  pictures,  likes 
to  relax  when  not 
on  the  set  and 
slouches  around 
in  very  loose  and 
sloppy-looking 
togs.  Occasion- 
ally he  yields  to 
his  natural  incli- 
nation and  works 
a  loose-fitting 
garment  into  a 
picture.  The  day 
I  saw  him  he  was 
getting  a  camel's  hair  overcoat,  belted,  and  with  no  par- 
ticular fit — just  comfortable  looking — for  use  in  "The 
Divorcee.'' 

Rod  La  Rocque  has  one  of  the  largest  wardrobes  in 
Hollywood  and  dresses  in  the  best  possible  taste.  He 
orders  suits  by  the  dozen.  lie  goes  in  for  extreme 
English  styles — large  lapels  and  other  details  in  keeping, 
lie  lias  one  idea  as  regards  his  clothes  that  sets  him 
apart  from  other  men.  lie  never  has  them  pressed! 
Every  time  he  takes  off  a  suit,  his  valet  brushes  it  down 
with  a  wet  wiskbroom  and  hangs  it  up.  Rod  contends 
that  the  suit  then  falls  back  into  proper  shape.  It  must 
be  so,  for  his  clothes  always  look  well  cared  for — unless 
his  valet  sneaks  them  out  and  presses  them  when  Rod 
isn't    looking.      1    wonder! 

Sam  Hardy  is  noted  throughout  Hollywood  for  the 
glory  of  his  sartorial  adornment.  The  more  extreme 
the  cut  and  the  flashier  the  material  the  better.  Recently, 
not  finding  anything  in  stock  sufficiently  striking  to  suit 


Frank     Albertson's     dinner      clothes 

were   ordered    Saturday   for   delivery 

Monday — and  they  were. 


his  mood,  Sam 
invaded  a  line  of 
women's  mate- 
rials and  trium- 
phantly selected 
cloth  for  a  couple 
of  suits  for  him- 
self. "And  let 
this  be  a  warn- 
ing to  you,"  he 
admonished  the 
astounded  Mr. 
Watson.  "When 
you  go  abroad 
this  summer,  see 
that  you  bring 
back  a  dozen  or 
so  Scotch  plaid 
blankets  for  suits 
for  me." 

"Do  you  really 
go  abroad  for 
your  materials?" 
I  asked. 

"Yes.  Either 
my  son  or  my- 
self goes  every 
year.  Not  only 
for  the  materials, 
but  we  like  to 
see  what's  new 
in  the  way  of 
cut,  and  also  pick 
up  any  novelties 
we  can." 

Richard  Arlen, 
Charles  Farrell, 
Chester  Morris, 
Johnny  Walker, 
Cliff  Edwards, 
Jack  Mulhall, 
Ricardo  Cortez, 
Gary  Cooper, 
Hallam  Cooley, 
Alan  Hale,  Eddie 
Nugent,  Edmund 
Lowe,  Ford  Ster- 
ling, Hugh  Tre- 
vor, Nick  Stuart, 
Glenn  Tryon, 
George  Lewis, 
Walter  Pidgeon, 
Barry  Norton, 

Jean  Hersholt,  Larry  Kent,  David  Manners,  Harry 
Langdon,  Matty  Kemp,  William  Austin,  Robert  Agnew, 
Don  Alvarado,  Johnny  Arthur,  Walter  Byron,  Francis 
N.  Bushman — father  and  son — Lane  Chandler,  Charlie 
Chase,  Conway  Tearle,  Prince  Yucca  Troubetskoy,  and 
Bryant  Washburn  are  some  of  the  others  whom  you  may 
see  in  this  little  establishment  almost  any  time  they  are 
between  pictures. 

Occasionally  a  woman  will  wander  in. and.  order  a 
sports  suit.  Betty  Compson  has  the  distinction  of  being 
the  first  woman  to  order  a  pair  of  trousers.  She  wanted 
something  to  loaf  around  the  house  in  and  chose  light- 
weight gray-flannel  slacks.  She  wears  them,  too,  and 
how ! 

Now  it's  become  quite  a  common  thing  and  there  is 
quite  a  vogue  for  trousers  for  beach  and  yachting  wear. 

Basil  Rathbone,  who  is  known  on  the  screen  for  his 
suave,  sophisticated  performances,  goes  in  for  English 
Continued  on  page  104 


Arthur    Lake    drives    the    fitters    dis- 
tracted when  he  sprawls  on  the  floor 
to  read  the   comic   strips. 


Venus 
Vanishes 


At  the  height  of  her  beauty  and  fame 
Vilma  Banky  chooses  to  retire  from 
the  screen,  thus  adding  courage  to  the 
qualities  that  have  endeared  her  to 
us  all. 


I  can  write  no  stately  proem 
A>  a  prelude  to  my  lay. 

From  a  poet  to  a  poem 
I  would  dare  to  say. 

And  if,  of  the  falling  petals. 
One  to  you  seem  fair, 

will  waft  it  till  it  9 
In  your  hair. 

And  when  wind  and  winter 
Harden  all  the  loveless  land, 

It  will  whisper  of  the  garden: 
You  will  understand. 

— Oscar  Wilde. 


YOUNG,  lovely,  successful,  Vilma  Banky  has  decided 
to  abandon  lu-r  career  on  the-  screen  and  find  content- 
ment in  private  life.    She  doesn'1  say  thai  she  prefers 
to  be  "just  a  wife,"  h  <  her  the  change  entails  no 

comedown,  no  sacrifice.  She  believes  il  is  her  highest  des- 
tiny, because  she  loves  her  husband,  ]\<>d  La  Rocque,  and 
with  the  expiration  of  her  contrad  free  to  do  with 

her  life  as  she  wills.    Th  metoth< 

i^  proof  that  excitement  and  adulation  mean  nothing  to  her 
and  lasting  real-  rything. 

Far  from  being  forgotten  in  tl 
Vilma  Banky  will  '  not  only   for  what 

.  but   for  her  id  alty 

to  them. 


2G 


i  ir,    Bngllih 

"Let    'em   know    you're    around."      That's    Jack    Oakie's    motto 
So  he  manages  to  be  all  over  the  studio  and  never  silent. 


HisN 


ameon 


th< 


Jack  Oakie  will  have  his  wisecrack,  even  at 
the  thought  of  being  considered 


By  Al 


Jack  is   rather  shy.     And  he 
at  his  best — too  much  Broad- 


w 


[EN    'Hit    the    Deck'    was    released — I    played 
Bilge  in   that — a   friend  said  to  me,   'Oh,  look, 
Jack,    there's    your    name    on    all    the    "bilge  - 
boards"  !'  "  said  Jack  ( Jakie. 

Bilge  or  otherwise,  Jack's  name  is  spelled  in  big  letters 
on  billboards  all  over  the  country.  Now  he  is  being 
starred  in  "The  Social  I. ion."  Jack  is  an  overnight 
success,  what    I '.roadway  calls  "a  natural." 

After  his  first  big  hit  in  "Sweetie,"  the  critics  dusted 
olT  all  their  best  .adjectives — "1  lilarious."  "Sensational." 
"Jack  (  )akie  is  an  artist." 

An  artist!  Jack,  reading  the  notices  at  home  in  Hol- 
lywood, was  delighted  but  puzzled.  An  artist?  Well, 
for  gosh  sake!     !!<•  hadn't  done  a  darn  thing  before  the 


ma 


camera  but  be  himself — and  they  called  him  an 
artist.  "Well,  Mrs.  OfHeld,"  he  told  his  mother, 
who  lives  with  him,  "your  little  boy  Lewis  is  an 
artist.  Can  you  tie  that?"  Or  words  to  that 
effect. 

You've  all  been  to  parties  where  some  one 
constantly  clowned  and  wisecracked.  "Isn't  Bill 
a  riot?  The  life  of  the  party!"  Well,  that's 
Jack.     A  natural  clown. 

When  he  opened  the  door  of  his  hotel  suite  in 
New  York.  Jack  dangled  his  watch  chain  with  the 
key  on  the  end.  "I  always  knew  I'd  find  a  use 
for  that  some  day, 

We   sat  down, 
was  obviously  not 
way  night  life. 

"If  I  look  as  bad  as  I  feel,"  said  Jack,  "they 
won't  let  me  play  Skippy  after  all.  And  I'll  never 
be  the  darling  of  the  debs.  But  Buddy  Rogers 
beat  me  to  that,  I  guess."  Buddy,  it  seems,  was 
acutely  distressed  when  he  saw  himself  billed 
"The  Darling  of  the  Debs." 
The  phone  rang. 

"There  it  goes  again,"  said  Jack.  "Every  min- 
ute, all  day  long.  T  don't  know  you,  but  how'd 
you  like  to  come  over  for  a  swell  home-cooked 
dinner?'  'Won't  you  come  to  our  dance  next 
Friday  night?' 

"Yeah !  And  if  I  go  what  happens  ?  Some 
one  announces  in  a  loud  voice,  'Jack  Oakie  is 
going  to  sing  for  us.'  They  don't  ask  me  before- 
hand do  I  want  to  sing.  They  just  trap  me  so  I 
can't  refuse.  But  I've  learned  a  dandy  answer  to 
that  one!  They  say,  'Will  you  sing?'  And  I 
say,  'Vier  geveltf  I'm  told  that's  Yiddish  for 
'Where's  the  money?'" 

I'm  not  up  on  my  Yiddish,  so  any  error  is 
mine,  not  Jack's. 

The  phone  rang  again.  The  Eastern  office  cf 
Tack's  manager  calling. 

"My  local  flesh  peddler,"  Jack  explained. 
He's  still  a  little  astonished  at  all  the  attention 
he  is  getting,  the  stir  he  has  caused.     He  has  that 
pinch-me-I'm-dreaming  air.     You  never  hear  him 
talk  about  his  art.     He's  just  a  natural  cut-up,  and 
all  that  stuff  about  his  being  an  artist  is  more  a 
surprise  to  him  than  any  one. 
The  night  before  he  attended   the  theater.     He  went 
back-stage  to  see  his  old  friend,  Harry  Richman,  who 
was  in  the  show. 

"Three  of  us  piled  into  Harry's  foreign  car,"  said 
Jack.  "I  said,  Hey,  Harry,  go  slow,  so  people  can  get 
a  load  of  this.'  We  poked  along.  I  was  all  set  with 
my  bow,  in  case  some  one  recognized  me.  We  spent 
fifteen  minutes  getting  out  of  the  car  when  we  arrived 
at  the,  er — restaurant.  But  it  was  just  my  luck — there 
wasn't  a  soul  in  the  street.  I  might  as  well  have  driven 
up  in  a  Ford." 

This  is  the  Jack  Oakie — dressed  in  a  brown  suit,  black- 
patent-leather  shoes,  and  white  socks — who  returned  to 
the  New  York  be  had  left  as  a  chorus  bow 


27 


"Bilgeboards" 

his  own  expense,  and  though  he  is  a  stai 
an  artist  "panics"  him. 

Talle? 


It  was  only  a  few  years  ago  that   lack  was  a 
telephone  juggler,  as  he  put  it.  in  Wall  v 
He  hadn't   a   thought   of    th<  But   his 

friend,  May  Leslie,  let  him  play  in  a  few  ama- 
teur shows  which  she  produced.  And  he  was 
a  hit. 

"Why  don't  you  go  on  the  stage  ?"  she  said. 
"You're  good.    And  you  love  it." 

"All  right,"  said  Jack.  who.  as  he  says  him- 

-  the  line  oi  least  resistance. 
He  got  a  job,  without  trouhle.  in  the  chorus 
of  a  Shubert  revue.  "Artists  and  Models." 

Then    followed    more    chorus    work    and    a 

vaudeville  tour  in  Lulu  McConnelFs  act.     Lulu 

.  kind  of   feminine  Jack  Oakie. 

The  next  season  she  got  Jack  a  job  in  the 

chorus   of    "Peggy    Ann."    in    which    she    was 

featured. 

"As  a  chorus  man."  said  Jack,  "my  gosh! 
I  was  terrible.  In  one  number,  'Where's  That 
Rainhow  ?'  we  danced  off  the  stage,  each  man 
pretending  to  kick  the  girl  in  front  of  him. 
Only  I  really  did  kick  her.  And  I  got  kicked 
— out.  Lulu  said.  "Never  mind,  lots  of  good 
people  couldn't  get  chor  -they'd  never 

hire  me !'  " 

-  then  what  ':" 
"Then  I  decided  to  take  a  little  vacation,  and 
see  Hollywood.  Out  there  I  met 
Wesley  Ruggles  at  a  party.  He 
was  telling  me  about  some  gags  he 
was  going  to  use  in  'Finders  Keep- 
ers.' 'Swell.'  I  -aid.  'now  all  you 
need  is  a  smart  guy  like  me  to  put 
'em  over." 

"Wesley  thought  this  over  for  a 
minute  and  then  said,  'Sold.     C 
around    to    the    studio    to-morr 
morning.'     I  did.    And  P.  S.— 1 
the  j 

Thus  began  Jack's  movie  career. 
Carelessly,   you   might    saw 
career— film    tame — they    just 
into  his  lap.     Jack  goes  right  on 
lowing  that  line  of  lea^  nee. 

He  played  with  Dorothy  Mackaill. 
in  "Hard  7  In  one  sequence 

she  had  to  pudi  him. 

"I  pushed  her  right  back." 
said  Jack.  "The  director  yelled. 

there,   what's  the 
She's  the  star  of  this  picture. 
You    can't    push    her    oul 
camera  range  like  that.' 

5he  pushed  me  first,  didn't 
she?'  I  said." 

ral      times      Jack      has 
stolen  a   film    from   the   star   through   just    >uch   antics. 

"It's   the   only    way    I'd    ever    get    notii 
"Why.   if   I'd   kept   step   with   the  others   in   the   chorus 
I'd  still  be  a  chorus  man.     Let  'em  know  vou'v 


Jack  is  starred  in  "The 


riiui.p  bar  n 
When  Jack   Oakie   kisses   the   heroine,   they 
squash  a  tomato  off-stage,  he  says. 

"For  instance,  when  a  lot  of  extras  are 
on  the  set.  which  are  the  ones  who  stand 
out?  Those  that  sit  around  quietly  like 
ladies  and  gentlemen?  I  should  say  not! 
It's  the  ones  who  start  things,  so  the 
director  sees  them. 

"  "That  girl  over  there.'  the  director  will 
say.    'the    one    turning    handsprings — let's 
give   her   a   screen    test.'      Only   the   tough 
break  for  the  girl  is  that,  in  the  test,  they 
make  her  act  like  everybody  else.     They 
say,   'Walk   into   the   room.'      'Answer   the 
telephone.'     'Head  these  line-.'     And  be- 
fore it's  over  she's  just  like  any 
one  else — ix)  individuality  at  all. 
£^^^_       They  ought  to  let  her  cut  up. 

m-  >h,    well."    said    Jack.    "I'm 

BB^^      just  roughneck,     I 

A  My    first    interview    was    with    a 

writer  on  one  of  the  Los  .\n 
^,  newspapers.       We     were     having 

lunch,  and  I  Eti  the 

next  table.    I  went  over  to  speak 
to    them,    and    I 

away  too  long.   Anyway,  tin-  lady 
\nd  did  she  hum 
me  up  in  her  intei 

mother  d  <>f  a  train- 


Sap  from  Syracuse.' 


2s 


Wkat  A 

Our  own  Miss  Svvanson  recognizes  no  limit 

does   she   score   heavily   in   the   dramatics   of 

her  brilliant  ability  as  a  come 


Miss  Svvanson  wears,  outer  left. 
a  gown  of  black  velvet,  with 
crystal  and  seed-pearl  embroid- 
ery on  the  bolero,  this  costume 
being  typical  of  the  wide  vari- 
ety of  clothes  provided  for  the 
comedv. 


She  displays,  left,  a  hand- 
painted  gown  of  yellow  crape, 
the  flowers  in  contrasting  colors 
being  outlined  in  embroidery. 
Incidentally,  Miss  Swanson 
sings  three  songs  written  ex- 
pressly for  her  by  Vincent 
Youmans. 


-->' 


£ 


Gloria  Swanson,  left,  con- 
tributes a  moment  of  broad 
farce  when  she  chooses  to 
disguise  herself  for  the  pur- 
pose of  eluding  four  deter- 
mined swains. 


She  is  seen,  right,  in  a  beige 
suit  of  French  Leda,  trimmed 
with  leopard,  with  a  touch 
of  the  same  fur  on  her  felt 
hat,  this  being  but  one  of 
the  ultrasmart  costumes  she 
wears    in   the   picture. 


V 


HHH 


29 


Gl 


ona! 


to  the  range  of  her  versatility,  for  no  sooner 
"The  Trespasser,"  than  she  reminds  us  of 
dienne  with  "What  a   Widow!" 


\*f 


Much  of  the  action  in 
"What  a  Widow !"'  takes 
place  on  shipboard,  hence 
we  find  Miss  Swanson  at- 
tired, above,  in  a  sports  suit 
!ue  Flocallic  trimmed 
with  harmonizing  suede  and 
wearing  a  beret  of  blue 
suede. 


he    street    si 
left,    an    ensemble    of    Mack 
flat  crape,  wit!  Irirt, 

the     waist     further     di 
strating  another  variation  of 
the    popular    bo!> 


Miss  Swanson,  above,  as 
Tamarind  Brooks,  the  gay 
widow,  dances  with  Owen 
Moore,  as  Jerry,  the  suitor 
who    finally    wins   her. 

She  is  seen,  right,  in  a 
moment  of  mock-intensity 
in  considering  the  proposal 
of  a  man  she  wants  to  had 
on.     He  is  Lew  Cody,  who 

sociated   with   Marga- 
ret    Livingston,     Gregory 
Gay,       A  r  t  lni  r 
Hoyt,    and    Her- 
bert Braggioti   in 
Miss      Swanson's 

support. 


30 


Photo   by  Ilurrell 

Catherine  Dale  Owen  gave  a  party  and  no  one 
wanted  to  leave. 


F(  H\  weeks  Fanny  the  Fan  was  not  to  be 
found  in  any  of  her  customary  haunts,  and 
even  though  T  telephoned  her  at  all  sorts 
of  odd  hours,  she  was  never  in.  Finally,  I  fell 
hack  on  that  time-worn  expedient  of  bombard- 
ing her  with  telegrams  saying,  "Come  at  once 
■ — I  need  you."'  and  "Meet  me  at  the  Ritz  at 
four  thirty  to-morrow,  and  you  will  learn  some- 
thing to  your  advantage."  That  last  one  got 
her.  She  insists  that  it  was  because  T  signed  it 
"A  friend,"  and  she  was  anxious  to  discover  if 
she  really  had  a  friend  left  in  the  world,  and 
why. 

"If  you  read  my  mail,  you  wouldn't  think  T 
had  any  friends,"  she  wailed.  "Fver  since  I 
said  something  to  the  effect  that  Janet  Gaynor 
should  he  strangled  for  the  cloyingly  cute  man- 
nerisms she  has  adopted  in  singing,  I've  been 


Ffhe  *Bysiancler 


attacked  by  telegram,  letter,  and  telephone.  Evidently  Janet 
inspires  a  passionate  loyalty  in  her  admirers.  They  think 
strangling  is  too  good  for  me;  they're  in  favor  of  torture 
and  slow  poison. 

"Nevertheless,  I  say  Janet  was  once  a  sensitive,  poignant 
artist  and  now  she  is  a  second-rate  singer  with  a  lot  of 
obvious  tricks."     Fanny  was  most  emphatic  about  it. 

Fanny  can  yell  "sacrilege"  all  she  wants  to.  The  public 
likes  Janet  with  all  her  mouthings  and  baby  stares.  She  has 
just  won  two  big  popularity  contests  conducted  by  news- 
papers. 

"You  haven't  gone  into  retirement,  have  you,"  I  asked, 
"just  because  Janet's  sharpshooting  admirers  are  out  to 
slay  you?     And  if  not,  where  have  you  been?" 

"Oh,  just  around."  Fanny  beamed  with  a  complacent 
smile. 

"This  is  once  when  I  am  not  homesick  for  Hollywood," 
she  went  on,  "because  about  half  of  Hollywood  is  here,  or 
has  been  within  the  last  few  weeks.  Marie  Dressier  was 
here  on  her  way  to  Europe.  So  was  Pauline  Starke. 
Lilyan  Tashman  and  Eddie  Lowe  are  here,  and  so  are  Mar- 
garet Livingston  and  Catherine  Dale  Owen.  Marjorie 
White  and  Helen  Twelvetrees  have  been  here,  Mitzi  Green 
played  a  week  of  personal  appearances  in  Brooklyn,  and 
Nancy  Carroll  and  Lillian  Roth  are  both  here  to  make  pic- 
tures in  Paramount's  Eastern  studio." 

Fann>-  sighed  contentedly.  All  was  right  with  her  world 
for  the  moment. 

"Broadway  has  broken  out  in  a  perfect  rash  of  parties 
lately."  she  announced  with  enthusiasm.  "You  know,  even- 
time  Fox  signs  up  a  celebrity  they  give  a  big  tea  to  an- 
nounce the  fact.  Joseph  Urban  was  the  excuse  for  one 
big  party :  another  was  supposed  to  be  given  in  honor  of 

o      ,      ,     •      iU  George     Gershwin. 

Betty    Starbuck    is    the    young    en- 
chantress   of    Paramount's    Eastern 
studio. 


rhoto  by  I>c  Barron 


but  it  turned  out  to 
be  a  testimonial  meet- 
ing in  favor  of  his 
chef's  famous  apple 
strudel. 

"The  Publix  offi- 
cials gave  a  party 
for  Helen  Kane  the 
night  she  made  her 
first  appearance  at 
the  Paramount  since 
she  went  into  movies. 
The  part}-  was  held 
at  the  Park  Central 
Hotel  about  mid- 
night, and  guests 
were  warned  that 
they  were  expected 
to  dive  into- the  swim- 
ming pool  during  the 
course  of  the  eve- 
ning. But  I  can't 
tell  you  who  did  and 
who  didn't,  because 
T  went  home  before 
the  party  had  finally 
arrived  at  that  stage 
of  hilaritv. 


31 


tacups 


Fanny  the  Fan  reports  on  the  swarms 
of   Hollywoodites  that  have  been  visit- 
ing New  York. 


"Helen  looked  much  thinner  and  prettier,  but  I  confess   1 

more    interested    in    I  linger    Rogers    than    1    was    in    the 
of  honor." 

As  1  wasn't  much  impressed  by  dinger  Rogers,  in  "Young 
Man  oi  Manhattan."  I  tried  to  lead  the  conversation  gently 
back  to  Marie  Dressier.  1  might  as  well  have  tried  to  drown 
out  Lawrence  Tibhett  in  the  midst  of  an  aria. 

didn't    have    half    a    chance    in    that    picture,"    Fanny 
insis-  "She's    really    a    darling.      Just    nineteen,    and    the 

youngest  nineteen  yon  ever  saw.  1  had  a  long  talk  with  her 
mother  while  Ginger  was  dancing  with  Jack  Oakie.  and  I  am 
sure  that  even  if  Ginger  didn't  have  good  sense — which  she 
has — Iter  mother  would  keep  her  level-headed. 

"Her  mother  was  dramatic  critic  on  a  newspaper  down  in 
Tex  nger  grew  up  with  the  stage  on  her  mind,  so  to 

speak.  She  didn't  really  get  started  on  her  career  until  she- 
had  reached  the  ripe  old  age  of  ten.  She  had  worked  up 
from  school  entertainments  to  dancing  contests,  from  picture- 
■  prologues  to  musical  comedy,  when  Paramount  scouts 
found  her.  Mr.  Lasky  says  she  is  great  in  'Queen  High,' 
and  he  ought  to  know.  They  tell  me  he  has  seen  quite  a  few 
picti: 

\ny  girl  working  in  Paramount's  Eastern  studio  has  plentv 
of  competition.  You  have  never  seen  s,,  many  pretty  girls  as 
there  are  over  there,  and  most  of  them  are'  so  young  they 
make  any  one  over  twenty  look  like  a  doddering  old  hag. 
Betty  Starhuck  is  the  young  enchantress  of  the  studio,  lint 
she  caus.  sation  wherever  she  goes.     When  she  opened 

in  her  first  musical  comedy  in  Xew  York,  staid  reviewer- 
wailed.  'Mamma.  I  want  that  dolly  !' 

-ince  Claudette  Colbert  left  the  studio,  all  the  men  have 
taken  to  following  Betty  Starhuck  around,  hoping  that  she 
will  want  a  chair,  or  a  glass  of  water  or  something,  so  they 
can    get    it    for    her. 

Marjorie  White  made  a  great  hit  in 
her  home  town. 

Pboto  by  Autre}- 


She  doesn't  ever, 
to  notice  it.  Oh,  well, 
they  tell  me  she  has 
been  the  belle  of  so 
many  college  proms 
that  a  hundred  or  more 
new  admirers  doesn't 
mean  a  thing  in  her 
life. 

me  of  the  pret- 
•.dr!s  J  have  ever 
seen  worked  as  extras 
in  'Dangerous  Xan 
McGrew,'"  Fanny 
babbled  on.  ignoring 
her. 
ere  not  the 
usual  tvpe  of  extras 
at  all.  Th« 
more  like  a 
butantes  who  had  come 
for  a  lark  to  see  how- 
pictures  were  made.  I 
found  out  that  many 
of  them  were  chorus 
girls  from  'Heads  Up.' 
Haven't  seen  the  pic- 
ture, so  I  don't  know 


Pauline    Starke    is   playing    around    Europe 
with   her   producer-husband. 

how  they  photographed,  hut  if  they 

istercd    as    they    looked    in    real    life    they 
ought  to  he  given  contrai  I 

"Bui   it   takes  more   than  a  contr 

make  an  actress  in  pictures,"  I  ' 
"Look  .>;   Carlotta  King.     She  signed  a 
contract  with  Metro-Goldwyn  rijd't  after 
made  'The   Desert  Song*   for  War- 

■ 
"Yes,  and  look  at  Ma-  ."  Fanny 

chimed  in. 

and    was    all  for 

nd  then    -he   collapsi  d    when 
the  rad 
left    for  I'athe  in- 

will   in;  ' 


32 


Otfer  The  Teacups 


Photo  by  Tzamouzaki 

Lena    Malena   is   the   latest   nominee    for    Lily 
Damita's  role   in  "Sons  o'   Guns." 


She  really  ought  to  tell  the  public  what  her 
reducing  diet  was,  so  that  other  singers  can 
avoid  it.     Her  voice  sounds  terrible  now." 

•"I  could  do  with  fewer  singers  in  pictures," 
I  observed,  "and  more  people  I  like  to  look 
at.  I  am  so  tired  of  people  recruited  from 
the  stage  or  night  clubs.  They  may  sing  well 
enough,  hut  their  faces  are  a  dead  loss  as  far 
as  I'm  concerned." 

"Yes."  Fanny  granted.  "I'm  fussy  that 
way.  too.  I'd  much  rather  look  at  Norma 
Talmadge  than  Sophie  Tucker,  and  I  could 
listen  to  Bernice  Claire  with  much  greater 
pleasure,  if  she  only  looked  like  Myrna  Loy. 
Just  wait  until  you  see  Myrna,  in  'Bride  of 
the  Regiment.'  She  looks  so  exquisite  in  a 
white  wig,  she  all  but  takes  your  breath 
away.  I'd  trade  in  a  job  lot  of  Dennis  Kings 
and  Harry  Richmans  for  Ronald  Colman,  and 
throw  in  John  Boles  for  good  measure,  even 
if   Ronnie  doesn't   sing." 

"What  about  his  disappearance?"  I  asked. 

"Wasn't  that  just  like  Ronnie?"  Fanny 
beamed  with  as  much  pride  as  she  might 
have,  had  he  been  her  own  invention. 

"He  simply  won't  give  in  to  the  notion  that  an  actor 
belongs  to  the  public  and  Sam  Goldwyn's  press  agent. 
When  he  finished  'Rallies,'  he  announced  that  he  was 
going  to  Honolulu.  Reporters  met  all  the  boats,  and  when 
he  didn't  show  up,  the  press  department  got  a  hunch 
that  he  was  really  in  New  York.  They  searched  every- 
where for  him,  and  finally  a  newspaper  columnist  ran  a 
kidding  story  saying  that  he  was  lost,  and  would  the 
finder  kindly  return  him  to  Sam  Goldwyn's  office? 


"Promptly,  a  taxi  driver  appeared  on  the  scene, 
and  told  that  he  had  driven  Ronnie  to  a  certain 
very  quiet  hotel  the  night  before.  By  the  time 
the  Goldwyn  press  agent  got  there,  Ronald  was 
leaving  for  a  European  steamer.  And  when  he 
arrived  on  the  other  side,  he  stayed  in  his  state- 
room until  the  docks  were  cleared. 

"Ramon  Novarro  has  always  gone  in  for  se- 
clusion, too,  but  when  he  was  here  recently  he 
went  about  freely,  and  no  one  bothered  him.  He 
even  sang  over  the  radio,  and  of  course  there 
were  hundreds  of  requests  for  permission  to  visit 
the  studio  that  night.  No  outsiders  could  get  in, 
hecause  the  wives  of  the  studio  officials  had 
grahbed  every  available  inch  of  room. 

"The  visitor  to  New  York  who  made  a  hit 
with  me  was  Mitzi  Green,'"  Fanny  announced. 

"Probably  because  she  was  all  that  kept  you 
awake  through  'Paramount  on  Parade,'  I  sug- 
gested." 

"Not  quite  all."  Fanny  corrected  me.  "I  en- 
joyed Chevalier  immensely,  too.  But  wasn't  the 
rest  dull  ?  There  was  only  one  precious  moment 
when  Edmund  Goulding,  the  director,  spoke. 
Let's  go  right  out  and  send  a  telegram  to  Mr. 
Lasky — 'Please  make  Eddie  Goulding  act  in  a 
picture  right  away.  I  know  he  is  about  the  most 
valuable  writer  and  director  you  have,  but  he  has 
the  most  beautiful  speaking  voice  I  ever  heard.'  ' 
"First  I  want  to  be  sure,"  I  said  emphatically, 
"that  he  had  nothing  to  do  with  that  old  chromo, 
'Let's  Drink  to  the  Girls  We  Love.'  Maybe  the 
dramatic  club  of  the  East  Ipswich  High  School 

could  have  put  on  a 
number  with  as  little 
pace,  but  I  doubt  it." 
"Oh,  well,  if  you're 
going  to  start  asking 
questions  about  that 
revue,"  Fanny  ques- 
tioned, "why  not  ask 
why  the  Technicolor 
photography  made 
the  actors  look  as  if 
they  didn't  have  any 
faces?  The  color 
photography  in  'King 
of  Jazz'  was  much 
better,  but  to  no 
avail,  because  they 
didn't  have  any  play- 
ers whose  faces  I 
wanted  to  see. 

"But    I    must   tell 
you    about     Mitzi 
Green,"    Fanny    in- 
sisted.   "Over  at  the 
Brooklyn  Paramount 
they   wanted    her   to 
include  an   imitation 
of    Rudy    Vallee    in 
her  act.  because  he  is 
such  a  local"  favorite. 
And    Mitzi   turned   them   down   quite   solemnly,   declar- 
ing that  she  couldn't  imitate  him,  because  he  didn't  do 
anything ! 

"She  is  the  most  unspoiled  youngster.  She  had  to 
cut  her  tour  short  and  go  West  to  work  in  a  picture  with 
Clara  Bow.  and  if  she  gets  through  that  one  without 
being  spoiled,  she's  a  wonder.  Clara  Bow  is  so  crazy 
about  youngsters,  she'll  probably  spend  half  her  time 
trying  to  amuse  Mitzi." 


Photo  by  Ball 

Margaret  Livingston  would  like  to  adopt  New 
York,  and  it  is  mutual. 


Over  The  Teacups 

"That  reminds  me,"  1  began,  but  Fanny  in-  ^ 

terrupted. 

*'l  bet  I  know  what  you're  reminded  of — a 
selling  novel  oi  last  year  that  would  make 

a  perfect  vehicle  for  Mit/i.  The  idea  wasn't 
original  with  you,  because  everybody  has  been 
talking  about  it  ever  since  Mit/i  made  her  first 
hit.  The  hook  is  'Angel  Child.'  by  Grace 
Perkins.     Am  I  right :" 

Much  as  I  hated  to,  1  had  to  admit  she  was 
right.  It  IS  a  perfect  vehicle  for  Mitzi.  and  a 
grand  hook  to  read.  too. 

At  last  Fanny  stopped  talking  long  enough 
for  me  to  demand  news  oi  Marie  Dressier. 

"Well,  what  would  yon  expect  ?"  Fanny 
looked  at  me  in  cool  disdain.  "Yon  know 
perfectly  well  that  Marie  has  about  nine  mil- 
lion devoted  friends,  including  all  the  chorus 
-  and  most  oi  the  society  leaders  oi  New 
York  and  Europe.  For  the  last  three  seasons 
friends  have  bombarded  her  with  cablegrams 
telling  her  to  come  to  the  Riviera,  or  the  S< 
wouldn't  he  a  success.  From  the  moment  she 
•  ff  the  train  in  New  York,  she  was  sur- 
rounded. Of  course,  it  is  simply  marvelous 
that  she  come  a  star  at  sixty.     And  I'll 

that   when   she  is   ninety   she   will  be   the 
leading  television  star. 

•'Margaret  Livingston  didn't  have  so  many 
friends  when  she  came  to  Xew  York,  hut  if 
she  stays  here  a  week  longer  she  will  have 
the  city  at  her  feet.  Whenever  any  one  speaks 
eing  a  perfectly  gorgeous-looking  girl  at 
the  theater,  choruses  cry  out  that  it  must  have 
been  Margaret.  She  loves  Xew  York  and 
would  lik  si  y  here.     Every  one  I've  met 

shes  she  would. 

"She  and  Catherine  Dale  Owen  became  great 
friends  in  California,  and  they  came  E;. 
the  same   time.     Just   before  leaving   for   the 
Kentuckv    Derby.    Catherine    and   her    mother 
gave  a  tea  for  Margaret    and      Helen  Twelvetrees  barely  reached  Manhattan 
every  one  had  such  a  good  time  she  was  recaned  t0  Culver  City. 

they    didn't    want    tO   gO    home.  Photo  by  Thomas 

Maybe  -  them  are  there 

vet.  I  don't  know.  I  was  in- 
vited to  drop  in  at  five  o'clock 
for  a  few  minutes,  and  at 
seven  thirty  I  tore  myself 
awav.  I  seemed  to  be  the  first 
to  go,  at  that.  If  you  think 
Catherine  Dale  Owen  is  beau- 
tiful, and  if  you  don't  you're 
crazy,  you  ought  to  see  her 
mother.  She  looks  exactly- 
like  Catherine,  only  she  has 
heaps  of  lovely  white  hair. 
She  reminds  one  of  Southern 
gardens  and  real  pearls. 

1  theatrical  man;: 
have  tried  to  lure  both  Cath- 
erine and  Margaret  into  stage- 
hut     they     are 
both  under  contract  and  have 
when  summoned, 
are    always    ruining 
trips  to  Xew  York. 

"Helen     Twelvetrees     came 
East  hoping  to  stay   for 
eral    week-,    but    she   had    no 
more  than  got  her  trunks  un- 
packed  when    Pathe    sent    for 


83 


Marie  Dressier  has  the  rare  distinction  of  becoming  a  star  at  sixty. 


when 


her  to  come  hack  and  start 
work  on  'Her  Man.'  That's 
the  story  based  on  the  'Frankic 
and  Johnny'  ballad.  If  • 
cut  plans  work  out.  you  will 
see  a  newcomer  playing  op- 
posite her,  and  lie  i-  well 
worth  looking  at." 

"Why?"  I  inquired  idly. 
Fanny  does  pick  up  Mich  odd 
enthusiasms. 

"Well,  jusl  because  he  i-. 
Ill'-  a  cutter  at  the  Pathe* 
Studio  named  Claude  Her! 

and  for  years  producers  have 

been  trying  to  get  him  t< 
in  pictun-.  Il<-  i-  tall  and 
good  looking  and  has  the  most 
utterly  charming  manner.  He 
ha-  alway>  flatl)  refused  '" 
act.  saving'  he  had 
stead  thai    he   liked.     I 

saw    him    at    the    -Midi" 
and  immediately  inqu 
he    was.    which    i-    m< 
than  any  actor  ■ 

•    from  I 
-n  afrai  i  m- 

ory 

109 


34 


The  Look  of  tke  Montk 

Lily  Damita  registers  as  strongly  in  person  as  she  does  on  the  screen,  which  is  saying  a  great  deal, 
but  that's  the  verdict  of  a  seasoned   interviewer  whose  judgment  could  not  possibly  be  influenced  by 

a  blonde  in  golden  mules. 

By  Malcolm  H.  Oettinger 


LILY    DAM  IT  A   is   good    for    the   blood   pressure. 
Given  a  cozy  nook,  a  book,  and  Lil,  and  one  could 
have    a    delightful    literary    time.      Even    without 
the  hook. 

An  eyeful  of  Damita  turns  the  coldest  morning  into  a 
tropical  interlude.     She  is  the  look  of  the  month. 

Eleven  thirty  is  too  early  in  the  day  to  be  at  one's  best, 
but  it  didn't  affect  the  blond  Parisienne.  True,  when  she 
let  me  into  her  bijou  quarters  high  in  one  of  the  ultra- 
smart  apartments  on  Park  Avenue,  she  was  still  in  fa- 
tigue uniform,  which  is  to  say  that  she  wore  a  nebulous 
negligee  and  pattered  about  in  golden  mules  that  ac- 
centuated her  slim  hare  legs. 

Lily  lives  with  a  maid,  a  secretary,  and  a  phone  that 
tinkles    incessantly.      "Ccttc    (liable    dial,"    Lily 
called  it.     But  the  phone  didn't  seem  to  mind. 
Lil  could  call  you  almost  anything  with  impunity. 
The  girl  has  a  way  with  her. 

"No,  you  do  not  awaken  me,"  Lil  assured  me. 
"I  am  always  up  and  busy.  Busy  baby !  I  learn 
to  tap — so" — and  she  did  a  step.  "I  learn  to 
sing."  She  trilled.  "Something  doing  all  the 
time." 

She  is  one  flickering  star  who  is  perfectly  safe 
in  making  personal  appearances.  Lily  has  all 
that  it  takes. 

Damita  has  appeared  in  only  a  few 
pictures,  but  she  has  left  a  definite 
impression ;  you  will  see  more  of  her. 

In  "The  Rescue,"  with  the  suave 
Colman,  Lily  was  miscast,  but  in 
"The  Cock-eyed  World,"  that  Ra- 
belaisian slice  of  slapstick,  she  was 
eloquent.  "The  Bridge  of  San  Luis 
Rev."  shelved  because  of  box-office 
anaemia,  also  gave  Lily  a  chance  to 
put  her  best  foot  forward. 

"I  do  not  want  to  keep  on  making 
'Cock-eyed  Worlds,'"  Lil  told  me, 
pouting  prettily.  "All  I  do  in  that  is 
shake  these  beeps."  She  squirmed 
gracefully  on  the  chaise  longue  by  way  of 
illustration.     The  girl  is  a  born  pantomimist. 

"The  Bridge"  was  Lil's  idea  of  a  real  part 
in  a  fine  picture.  She  was  sorry  to  hear  that 
it  hadnij  paid  its  way  in  the  countingroom. 
"C'cst  dommac)c+"  she  exclaimed. 

There  are  myths  and   fables  about  Damita. 
There    would   he.      How    the    King   of    Spain 
declared   a   national    fiesta  when   she   danced     ^ 
at  the   Teatro    Nacional,   if   there   is   such  a 
place.    How  Prince  George  of  England  risked 
court-martial  by  leaving  his  battleship  near  Los 
Angeles  to  run   over  to   Hollywood   for  tea  with 
Lily.     Or  perhaps  it  was  luncheon.     History  is  so 
vague  on  thesti   line  points.     Then  there  was  a 
fair-haired  German  count  who  incurred  a  heavy 
expense   account    by    following    Lily    to    America, 
only   to  he   shunted   to  South   America,   where  he 
is  now  ignobly  slaving  for  Henry  Ford. 


Miss  Damita  has  appeared  in  but 
few  pictures,  but  she 
has    made    a    definite 
impression. 


Looking  at  Lil,  you  can  figure  some  of  these  myths 
as  being  more  than  mere  figments  of  some  press  agent's 
imagination.  Lil  is  the  type  that  would  set  a  king's 
throne  over  one  ear  and  unbalance  the  regal  scepter  a 
trifle.  Lil  is  a  Gallic  edition  of  Clara  Bow,  with  im- 
provements. 

"It  is  not  true,  the  stories."  she  told  me,  with  a  smile 
that  belied  her  words.  "I  would  like  to  see  a  man  with 
platonic  ideas.     But  they  are  all  the  same." 

"A  man  who  was  platonic  with  you  would  probably 
be  subnormal,"  I  assured  Lil.     She  laughed. 

I  told  her  how  I  liked  Chevalier,  whom  I  had  met  the 
day  before. 

"Ik-  is  charming,"  she  agreed.  "We  are  old  friends. 
He  is  a  great  artist.  And  he 
speaks  the  English  so  well. 
How  do  you  think  I  speak?" 

"Excellently.  With  just 
enough  dash   of   accent." 

"I  can  make  it  thicker  if  I 
like,"  said  Lily  calmly.  "When 
people  think  I  should  be 
Frenchier,  I  say  zis  and  zat 
for  dem.  Anything  vou  like 
— O.  K." 

She  is  a  gay,  saucy  child. 
Despite  the  fact  that'  she  is 
twenty-four,  she  seems  no 
more  than  eighteen  or  nine- 
teen, save  in  her  sophistica- 
tion. Lily  has  been  places  and 
seen  things ;  she  distinctly  knows  her 
way  around. 

Her  real  name  is  Lillian  Carre.  A 
great  man,  whom  she  coyly  refused  to 
name,  called  her  Damita  by  way  of  a 
nickname;  hence  she  became  Lily  Da- 
mita. And  sagely  enough,  Sam  "Gold- 
wyn  signed  her  to  a  five-year  contract. 
Fox  would  like  her  to  do  a  series  of 
pictures  with  McLaglen,  but  if  Lily  has 
anything  to  say  about  it,  there  w'ill  be 
no  more  hip-shaking  in  the  manner  of 
"The  Cock-eyed  World." 

Blondes  have  been  enjoying  an  open, 
season   on   the    screen.      Jeanette   Mac- 
Donald  calmly  appropriated  "The  Yaga- 
HH      bond  King"  heroine,  immediately  after 
J      W     playing  opposite  Chevalier  in  one  of  the 
outstanding    hits    of    the    year.      Mary 
Nolan  and  Jeanette  Loff' are  two  more 
fair-haired  beauties  who  have  been  at- 
tracting  attention.      The    mystery   is    Catherine 
Dale  Owen,  who  has  supported  Tibbett.  Gilbert, 
and  Baxter,  despite  a  total   lack  of   animation, 
ability,    or   anything   else   that    would    save   her 
from  being  a  dull  actress.     Then  we  have  Da-" 
mita.  registering  as  vividly  on  the  screen  as  in, 


real  life. 


Continued   on  page   113 


35 


/ 


Pbou  bf  Ril  P»7'» 


DESCRIBING  Lily  Damita  as  a  gay,  saucy  child  who  want* 
to  play  LamUU,  Malcolm  H.  Octtinger  finds  in  the  blond 
Parisienne  inspiration  for  one  of  his  most  penetrating,  and  at  the 
same  time  amusing,  interviews  on  the  opposite  page. 


36 


Photo  by  Don  English 


OVERPUBLICIZED  as  a  society  girl  looking  for  a  new  thrill 
in  the  movies,  June  Collyer  has  managed  to  live  that  down  by 
her  growing  importance  as  an  actress.  Not  by  looking  like  one, 
cither,  but  by  being  onel 


37 


PlMU  br  Don  Eajlli  . 


H 


BSE  she  is — here's  Mitzi  Green,  whom  you  all  know  well  by 
now.  Daughter  of  vaudeville  parents,  she  learned  early  how 
to  entertain  on  the  stage,  and  now  she  takes  home  the  bacon  to  the 
weight  of  $750  a  week. 


38 


Photo  by  Fred  E.  Archer 


Vf  FS,  Claudia  Dell  is  a  "Follies"  girl,  but  Hollywood  doesn't  say 
1     of  her,  "Just  another  'Follies'  girl."     Heaven  forbid  1     For  she 

was  brought  there  to  sing  the  title  role  in  "Sweet  Kitty  Bellairs," 
oveted  by  every  beauty  on  Broadway. 


39 


nau  br  WlllUa  A.   rrtkrr 


DOROTHY  RKVIER  used  to  be  called  "The  Caviar  of  Pov- 
erty Row"  when  she  appeared  in  pictures  made  on  a  shoe- 
-tring.  And  now  that  she  is  sought  by  leading  pr<*luccrs  to  grace 
their  films,  she  still  gives  them  that  expensive  flavor. 


40 


EDWARD  G.  ROBINSON  is  so  good  an  actor  that  critics  call 
him  grand.    He  plays  character  roles,  as  you  who  saw  "Night 
Ride"'  and  "A  Lady  to  Love,"  know.    And  with  what  a  difference 
you  also  know !    His  next,  "Little  Caesar." 


PlMtO  bj    IrrlM    O, 


MARLENE  DIETRICH,  the  new  German  actress  about  whom 
I  have  been  reading  plenty,  paused  in  New  York  before 
tjoinK  to  Hollywood  to  play  opposite  (»ary  Cooper,  in  "Munxco." 
The  reason?     Why,  to  ^reet  the  fans  with  this  photograph. 


42 


Photo  by  Harr*U 


TO  admire  is  one  thing,  to  idolize  is  another,  and  to  emulate  a 
star  is  the  greatest  tribute  of  all.  And,  according  to  Madeline 
Glass  in  the  article  opposite,  Ramon  Novarro  is  the  only  one  who 
inspires  this  supreme  manifestation. 


\:\ 


What  Is  His  Mystic  Povter? 

Little-known   facts   about   Ramon    Novarro  are   brought   to   light    in   a   brilliantly   informative   discussion 

of  his  influence  over   fans. 


By   Madeline   Glass 


A 


LTHOUGH  it  is  impossible  to  know  who  is  the 
most  popular  actor  on  the  screen  at  the  proem 
time,  1  venture  to  say  that  Ramon  Novarro  has 

the  most  consistently  loyal   following  that  ever  Stood  by 
star  through  good  pictures  ami  had.     His  admirers 

are  not  only  legion,  hut  the  intensity  of  their  devotion  is 
quite  unlike  that  accorded  any  other  star. 

This  does  not  mean  that  the  Gilberts,  the  Rog< 
and  the  Coojx-rs.  do  not  have  countless  admirers,  hut  I 
am  convinced  that  none  oi  these  men  inspires  the  rev- 
erential adulation  that  is  lavished  upon  Novarro.  1  'o 
se  who  qualify  as  his  fans.  Ramon  is  the  quintes- 
:'  all  that  is  good  and  great.  And  the  influence 
he  i  er  their  lives  and  characters  is  truly  amazing. 

Within  my  own  circle  of  acquaintances.  I  have  known 
girls  to  accept  the  Catholic   faith,   because   their  Ramon 
Catholic.      I    have    seen    them    study    the    Spanish 
language,  because  that  is  Ramon's  native  tongue.     And 
there  have  been  many  instances  where  devotion  to  this 
ted  young  Mexican  hi  I  his  fans  to  study  music 

and  the  other  arts,  hoping  to  come  into  closer  contact 
with,  and  appreciation  of.  their  idol.  It  is  doubtful  if 
anv  other  actor  ever  exerted  such  a  moral  and  mental 
.-way  over  his  admir 

What  set  me  to  thinking  about  Ramon  and  his  curi- 
ously devoted  followers  was  an  incident  that  came  to  my 
attention  recently.  A  bright  unsophisticated  girl  came 
:  California  from  the  East  about  two  years  ago.  Her 
prime  interest  in  life  being  Ramon,  she  went  to  the 
Metro-Goldwyn  studio  and  applied  for  a  position.  Even- 
tually she  was  given  one.  and  as  time  went  on.  she  found 
herself  working  among  the  stars.  To  her  the  star  of  star- 
was,  of  course,  the  black-haired  lad  with  the  captivating 
accent.  Occasionally  he  stopped  to  say  a  few  friendly 
words  to  her.  These  encounters 
were  to  the  girl  moments  of 
Jed  bliss  and  agony,  for  al- 
though Ramon  was  ever  so  cas- 
ual and  impersonal,  she  invari- 
ably was  thrown  into  such  a 
nervous  state  by  his  presence 
that  it  is  a  wonder  he  did  not 
e  her  discomfiture. 

"How  can  you  be  so  charm- 
while  breaking  my  heart  in 

Then    one    day    came    ne 
which  the  girl  had  once  thought 
lid  bring  her  the  height  of 
She     was     given     work 
where  she  would  come  in  direct 
and  continual  contact  with  Ra- 
mon.     Upon   hearing  this,    she 
/ned   her   position   and   lef1" 
the  studio. 

"I  knew  T  would   fall  madly 
in  love  with  him."  she  explained 

Grandma   Baker  came  from   Oak 

Hill.    Illinois,    to    meet    Ramon 

Novarro    for    the    first    time    and 

was  a  guest  at  his  home. 


resignedly,  "and   it   wouldn't   have  been   fair  to  him    - 
or  to  iih 

The  incident  was  an  unusual  tragi-comedy,  vet  it  can 
he  topped  by  an  even  more  amazing  one.  For  tin-  charm 
of  Novarro  not  only  had-  hi-  fan-  to  master  In-  lan- 
guage and  he  converted  to  hi-  religion,  hut  it  inspires 
them  to  all  sorts  of  sacrifices. 
Another  girl  also  came  from  th<  ir  the  purpose 

ing  Ramon.  She  was  very  poor,  and  being  voting 
and  inexperienced,  could  scarcely  earn  enough  to  keep 
soul  and  body  together.  She  i-  to-day  getting  along 
nicely,  and  she  has  such  an  unusually  good  mind  that  a 
line  future  undoubtedly  is  in  -tore  for  her.  Although 
she  had  no  money,  she  had  a  consuming  desire  t 
Mr.  Novarro.  So  she  set  out  to  walk  the  many  miles 
to  the  studio.  The  gentleman  in  the  front  office  who-e 
duty  it  is  to  question  callers  and  summon  the  bouncer 
if  necessary,  indicated  that  she  stood  about  a-  much 
chance  of  seeing  Ramon  as  -he  did  of  seeing  the 
president. 

So  the  girl  started  to  trudge  back  home,  carrying  the 
additional  weight  of  a  heart  suddenly  turned  to  lead. 
By  the  time  -he  reached  Los  Angeles,  her  feet  wei 
tired  and  swollen  that  she  took  off  her  -hoes  and  limped 
slowly  across  the  cool  lawn  that  surrounded  an  unpre- 
tentious residence.  As  she  neared  the  front  of  the  house, 
who  should  walk  out  hut  Ramon — in  person,  not  a 
motion  picture!  She  watched,  radiant  with  delight,  her 
poor,  abused  feet  forgotten,  while  he  stepped  into  his 
car  and  rode  away. 

What  does  this  man  possess  that  inspires  such  idola- 
trous devotion?  A  good  press  representative?  Ridicu- 
lous! Beauty?  There  are  other  handsome  men  on  the 
screen.      Talent?     There  are   other   talented    actors.      A 

good  reputation?  There  are 
other  good  reputations  among 
the  screen  folk.  No,  it  ; 
one  of  these  things.  It  i-  a 
combination  of  beauty,  talent, 
and  character,  plus  a  per 
ality  in  which  is  blended  .  - 
ety,  spirituality,  and  a  flavor 
ot  medieval  romance. 

While    other    men    usually 
look   out    of    place    in    fancy 
costumes,  Ramon  looks  a  hit 
tlge  in  modern  dress.    His 
is  a  personality  that  fittingly 
harmonizes   with    the   splen- 
dors, adventures,  and  t; 
die-  known  in  centuries 
and    gone.      A     theoso) 
would   Bay   that   he  ha-   I 
many  previous  lives.     Pi 
ably   he   ha-.      ]'„■   !' 
may,  he  i-  to  each  of  hi-  girl 
tan-  the  dream  prince  of  all 
time,   a   god   with  a 
humor. 

Ramon  Novarro  is  a  prod- 
uct  of   no   g  |c      Hi, 
''10 


44 


Tke  Stroller 


The  galloping  pencil  of  our  staff  cynic  sketches   the   high  spots   of   cinema   life. 


B?  Neville  Rea? 

]llustrated  by  L,ui  '■Qrugo 


IX  strolling  about  Hollywood  one  cannot  but  notice 
the  only  thing  new  in  the  way  of  visual  delight  which 
the  studios  have  to  offer. 

It's  not  girls  and  it's  not  pictures,  and  surely  it  isn't 
men.  Since  you  couldn't  possibly  guess  what  form  of 
rivalry  is  now  of  more  importance  to  the  studios  than 
the  making  of  pictures,  I'll  tell  you. 

Water  towers !  Yes,  sir.  The  sky  line  of  Hollywood, 
compared  to  that  of  New  York,  reminds  one  that  New 
York  does  all  its  drinking  in  speakeasies  and  gives  Hol- 
lywood the  aroma  of  the  farm. 

Universal  had  a  wooden  water  tower — oh,  years  and 
years  ago — plopped  down  over  one  of  the  office  build- 
ings. It's  still  there.  Then  First  National  put  up  a 
studio  in  Burbank  and  erected  a  water  tower  that  would 
make  Silas  lavender  with  envy.  To  top  it  off  they 
painted  it  a  glossy  black,  and  emblazoned  the  name  of 
the  studio  upon  it,  so  that  all  who  beheld  might  know. 

Then  Paramount  raised  one  of  the  things  on  their  lot, 
as  if  to  show  that  they  were  making  as  much  money  as 
First  National.  Their  tower  outdid  the  Burbank  edifice 
in  gallons,  capacity,  and  height.  And  it  brought  to 
Hollywood  its  first  flavor  of  the  countryside. 

But  sturdy  little  RKO  was  not  to  be  outdone.  Nay, 
nay.  They  have  the  Radio  millions  behind  them  and  so, 
spurred  by  the  same  ambition  that  makes  a  star  buy  an 
estate  and  have  a  footman,  they  got  bus}-  and  only  a 
block  from  the  Paramount 


cause  from  now  on  he  is  in  a  class  with  Jiggs  and 
Maggie,  the  Katzen jammer  Kids,  and  Harold  Teen. 

Yes,  indeed,  Jack  Oakie  is  the  name  of  a  new  comic- 
strip  character  just  out.  An  enterprising  publisher  sold 
Oakie  the  idea.  Oakie  gets  a  cut  on  the  receipts  from 
the  strip  and  has  the  O.  K.  on  the  feature,  probably  to 
be  sure  that  it  is  in  keeping  with  his  humor. 

A  prank  is  a  prank  in  a  comic  strip,  so  I'm  waiting  to 
see  what  comes  of  this  innovation.  Perhaps  they  intend 
to  have  an  artist  follow  Oakie  around  and  chronicle  his 
daily  adventures  for  the  edification  of  the  excited  world. 

The  Fairbankses  supposedly  had  such  success  in 
bringing  Shakespeare  to  the  screen  that  another  com- 
pany has  announced  its  intention  of  doing  "The  Mer- 
chant of  Venice,"  with  musical  embellishments. 

A  sweet  idea.  Imagine,  if  you  can,  Shylock  demand- 
ing his  pound  of  flesh. 

"I  want  my  pound  of  flesh !"  he  cries.  Then  you  hear 
strains  of  jazz,  and  feel  something  is  about  to  happen. 

Immediately  thereafter  a  chorus  of  sixteen  girls  comes 
on  from  the  wings  doing  the  buffalo.  They  are  scantily 
clad  and  start  singing, 


Here   is   your   pound   of   flesh- 
Sixteen  little  ounces  are  we — 


— tra-la- 
are  we. 


-tra-Ia. 


gusher  put  up  a  taller  and 
fatter  tower  which  com- 
pletely obscures  the  real- 
estate  sign  on  the  distant 
hillside,  and  adds  another 
visible  farm  to  the  Holly- 
wood silhouette.  Only  this 
sign  has  "Radio  Pictures" 
all  over  it  in  aluminum 
paint,  and  electric  lights 
play  on  it  by  night.  Thus 
dms  beauty  come  to  Hol- 
lywood of  its  own  voli- 
tion. 

Columbia  studio  is  plan- 
ning a  counterattack  by 
placing  a  drinking  foun- 
tain at  their  entrance,  and 
to  have  a  relay  of  bathing 
girls  turn  the  water  on 
and  off  for  the  thirsty. 

Fame  has  come  to  Jack 
(  lakie. 

1  le  must  be  funny,  be- 


A  star's  little  party  was  broken  up  when  he  repeated  his 

wife's  words,  "If  there  is  a  woman  in  this  house,  I  hope 

she  dies." 


Finish  the  words  yourself.     Or  get  some  song  writer 

to  bat  out  something  appro- 
priate. 


There  are  so  many  stage 
people  in  Hollywood  at 
present  that  they  are  a 
menace  to  the  success  of 
the  pictures  in  which  they 
appear. 

The  poor  things  are  ab- 
solutely unversed  in  the 
nuances  and  traditions  of 
the  city.  Worst  of  all,  they 
are  slightly  honest  with  in- 
terviewers, and  are  candid 
enough  to  tell  what  they 
think.  Which,  of  course, 
as  any  one  can  see,  is  a 
grave  error  likely  to  bring 
on  disastrous  results. 

Several  studios  have  just 
opened  training  classes  for 
all  stage  people,  and  none 
is  signed  to  a  contract  until 
he  has  listened  to  the  ad- 
vice of  the  publicity  director 


The   Stroller 


45 


and  shown  a  proficiency  in  mastering  the  rudiments 

of  being  interviewed. 

The  main  things  discussed  are  something  like  this: 
never  tell  your  right  age;  be  enthusiastic  about  pic- 
tures: your  current   role  is   the  greatest   you  ever 

had ;  flatter  the  interview  er  and  tell  him  you  read 
everything  he  writes,  and  admire  his  style;  tell  how 
5e  from  starvation  to  stardom  through  i^rit 
and  grin;  talk  about  your  rich  and  aristocratic  rel- 
atives; and.  above  all.  don't  tell  them  you  lived  in 
the  slums,  or  bought  your  way  into  pictures  by  skull- 
s' r>  • 

With  the  summer  tour-  n  going  strong 

Hollywood  shops  are  in  despair. 

many  stars  are  shopping  in  Beverly  Hills  and 

way   points.      So   naturally    the   tourist    trade    in   the 
shops    has    fallen    off.    because    every    one    wan- 
purchase   a   dress   at   the   place   that    serves   Greta 
Garbo,   and   Garbo   and   the   others   don't   come    in 
any  more. 

Special  discounts  to  players  have  tailed  to  bring 
them  back.  The  shopkeepers  can  no  longer  whis- 
per, "That  was  Clara  Bow  I  was  just  waiting  on." 
This  is  especially  serious,  since  half  the  business 
of  Hollywood  cinnes  from  tourisl 

A  .-ure  sign  of  this  exodus  is  the  advertising  of 
the  St       -      "Eat  with  the  stars."  "The  stars'  beauty 
parlor."  shout  the  signs.     And  a  Turkish  bath  bellows. 
"Ten   thousand   pounds   of    star    fat   lost    here   in    four 
year- 

Will  Hays,  having  edicted  against  talking  pictures, 
with  a  gigantic  blare  calculated  to  appease  the  censor- 
ship advocates,  has  gone  a  step  farther. 

Of  course,  pictures  will  not  be  any  simpler.  Sophis- 
tication and  even  dirt  will  continue.  But — still  photo- 
graphs have  come  under  the  ban. 

Fan  magazines,  say  Mr.  Hays'  spokesmen,  have  too 
much  nude  or  seminude  art.  Theater  lobbies  are  filled 
with  misleading  photographs  of  players. 

In  plain  words,  still  pictures  are  too  "hot" — and  the 
move  i>  under  way  to  cool  them  off.  Pictures  of  girls 
in  scanty  bathing  suits,  chorus  costumes,  undies,  neg- 
ligees, and  whatnots  are  to  be  eliminated.  Further- 
more,  the   latest    amendment    further    states    that    fully 

-:umed  girls  often  take  the  most  suggestive  pictures. 

This  is  supposed  to  give  Hollywood  a  greater  black 
eve  than  screen  fare,  and  still  re- 
straint   is    demanded.      What   will 
the  result  be?    Why.  I  don't  think 
there  will  be  any  change.    Do  you  ? 


The  Hays 
office  says  fan 
magazines  and 
lobby  stills  are 
too  "hot." 


The  equivalent  of  two  guests  was 

lost    at    a    Turkish-bath    party    in 

Hollywood. 


contract  at  one  of   the  bigger   Studios.      He   tilled   in   the 
contract  and  went  to  the  first  producer  and  -aid: 

"I  really  like  you  best.  I  would  rather  work  for  you 
than  any  one.  I'll  give  you  a  last  chance.  See?  Here 
is  a  contract  which  I  am  going  to  accept  if  you  don't 
want  me." 

The  producer  pondered  and  called  a  conference.  At 
the  conference  he  said.  "Well,  if  it's  good  enough  for 
Jesse  Lasky.  it's  good  enough  for  me,  eh,  what?"  The 
chorus  answered.  "Yes,"  so  the  contract  was  given  to 
the  director. 

And  a  few  days  later  a  scenario  writer  wanted  a  raise. 
He  was  turned  down.  So  he  promoted  himself  a  job  a; 
another  studio.  His  studio  offered  to  meet  the  raise  at 
last,  but  he  knew  what  that  meant.  It  meant  they  would 
keep  him  long  enough  to  lose  the  other  job.  and  then  he 
would  be  fired.  An  old  gag.  lie  asked  for  a  contract. 
It  was  refused.  He  signed  with  the  other  studio,  and 
his  former  employer  was  burned  to  a  crisp.  He  took  it 
up  with  Hays,  and  called  it  unfair  competition. 

Which  only  proves.  little  ones,  that   if 
you    make    somebody    believe    some    one 
else  want-  to  hire  you,  you  are  a  SUCO 
a-   1  [ollywood  look-  at  it. 


Here  are  a  couple  of  little  stories 
showing  the  astuteness  of  our  pro- 
ducer friends — again  on  the  pan. 

iV. 

A  director  had  an  idea  for  a 
picture  which  he  wanted  to  direct. 
It  had  been  months  since  he  had 
worked,    and    he  ling   the 

piweh.      I  was  broached  to 

a  studio  and  the  producer,  after 
due  or  undue  contemplation,  de- 
cided he  didn't  like  the  idea  well 

-  i  the  dircc: 
attempted   to   sell   it   el- 
where,  and  took  it  t" 
eral  of  the  lead  in. 
with  absolutely  no  luck. 

He  was  in  un- 

til   he    procured    a    blank 


TURKISH  - 

1 » 

lUTHj 

1 

1 

s 




Swimming   parties,   beach    parties,   din- 
ner parties,  <;in  parr 

But   now  the   Turkish-bath   party  has 

entered.  Kathleen  Clifford,  once  a  vaude- 
ville and  screen  player,  who  now  runs 
flower  -hop-  and  head-  a  cosmetic  com- 
pany, staged  one  at  a  Turkish  bath  for 
Sixty  of  her  most   portly   friends. 

The  party  wa-  a  hugl  Three 

hundred  pounds  wen  I  out,  or  the 

approximate  equivalent  of  tv. 
left  in  the  steam  room. 

One    of    our    worst    di- 

^         r<  id    hi-    con- 

produ  afraid  I 


^0 


i     -  —      -     —  .        r  - 


Inm 

iiiucd  on  page  106 


40 


Strong  And  Silent  Men 


Buster  Keaton  is  the  silent  one  and  the  others  qualify  as 
champion  lifters. 


Basket    ball     at     the     M.-G.-M. 

studio  recruits  Joel  McCrea,  cen- 
ter, as  candidate  for  the   strong- 
man   medal,    and    to    support    his 
claim,   he   does   a 
juggling  act  with 
Leila  Hyams  and 
Dorothy      Sebas- 
tian. 


lifts  a  good  part  of  the 
cast  of  "Hot  for  Paris," 
and  he  doesn't  look  bent 
the  least.  Here  are 
Charles  Jadels,  Fin  Dor- 
say,  and  El  Brendel. 


Fred  Kohler,  right,  disguised  as  a 
husky  Westerner  for  "Under  Western 
Skies,"  grabs  an  armload  of  girls  and, 
looking  them  over,  he  finds  that  he 
holds,  left  to  right,  Kathryn  Mcln- 
tyre,  Violet  Cooper,  and  Jacqueline 
Lander. 


•17 


Her  Strange 

Handicap 

Though     Marilyn     Miller     is     queen     of     musical 

comedy    by    virtue    of    being     its    highest-priced 

star,    she    can't     read    a    note.       This     surprising 

story   tells   how   she   triumphs   in  spite   of    it. 

By   Romney  Scott 

SHE  sings — but  she  can't  read  a  note. 
-    C  dances — but  she  has  never  taken  a  dancing 
a,  except    from   her  mother   when   she   was   a 
little  girl. 

These  tacts  about  Marilyn  Miller  came  From  her  own 

as   this   Broadway    favorite,   who  made   her   film 

debut  in  "Sally."  talked  about  herself  and  Hollywood. 

I  pleasure  over  the  fact  that  she  was  about 

•ard   the   Century    for  a   second   trip   to   the    film 

capital. 

"I    always    loved    to   dance."    Marilyn    confided.      "I 
.  loving  it  almost  as  soon  as   I  learned   to  walk. 
\\  hen  I  was  five  years  old  my  mother  made  me  a  little 
ballet  dress.     I've  been  dancing  ever  since." 

Then  she  told  of  her  childhood  days   in   Memphis" 
Tenn  d   of   an   old  colored   man    who   worked 

alxjut  the  place.     The  old  fellow's  recreation  was  danc- 
.bination  of  the  plantation  shuffle  and  the  tap 
dance  of  to-day.     The  little  girl  watched  him  and  imi- 
tated his  movements. 

learned  to  dance  by  dancing,  just  as  she  learned 

g  by  singing.     Her  parents  were  theatrical  people, 

a  fact  which  assured  her  an  opportunity  to  put  her  best 

foot  forward  when  the  time  came.     They  were  father 


Miss    Miller    used    to    be 
billed     as     'Miss     Sugar- 
plum"   when    her    parents 
were   vaudevillians. 


Marilyn 

Miller 

was 

recalled 

to  Holly- 

wood 

for   a 

second 

picture. 


mother,  and  three  daughters,  of  whom   Marilyn  was  the  yo 
est.    They  wen-  known  on  the  stage  as  the  "Five  Columbians," 
and  Marilyn  was  billed  as  "Miss  Sugarplum." 

inner  they  held  a  reunion  in  Hollywood,  where  Mari- 
lyn was  filming  "Sally."  And  nd  reunion  is  taking  place 
ummer.  The  elder  Millets  have  lived  for  s,  rs  in 
Hollywood,  and  the  two  wno  have  both  married  and 
retired  from  the  Stage,  went  to  the  Coast  from  Chicago  in 
that  the  "Five  Columbians"  could  be  together  once  mi 

lly"  was  the  first  of  the  musical  comedies  in  which  Marilyn 
tarred  when  only  nii  old.      It  W(  : 

playing  for  two  years  without  a  break.     Then  cam.  uid  a 

half  on  the   road,  after  which    Marilyn   played   the  title 
in  a  revival  of  "Peter   I 'an."      And  then  for 

over  a  year,  and  "Rosalie"  for  anothei 

"I  was  gjad  when  the)   gave  me  'Sally'  to  film."  she  said. 

1 16 


48 


A  young  man   in  love:     Neil    Hamilton  unex- 
pectedly  meets   Elsa   Whitmer,    and   knows   at 
once  that  she  is  the  only  girl  for  him. 

Part  III. 

THE  men  who  were  kindest  to  me  during 
my  modeling  period  and  gave  me  the 
most  work  were  Joseph  Leyendecker, 
Arthur  William  Brown.  Clarence  Underwood, 
and  James  Montgomery  Flagg. 

I  remember  going  home  one  afternoon 
when  T  was  rooming  with  Eddie  Phillips,  and 
the  usual  questions  were  exchanged  as  to 
whether  either  of  us  had  succeeded  in  finding 
a  job.  He  said  he  had  not.  T  hadn't,  either, 
but  had  heard  that  Mary  Pickford  was  in 
town  looking  for  Italian  types  to  take  back  to 
California  for  a  picture  called  "The  Love 
Light." 

My  informant  had  suggested  that,  having 
dark  eyes  and  hair.  I  should  go  over  and  see 
her.  But  as  I  didn't  feel  there  was  any  pos- 
sibility of  my  being  accepted  for  the  part.  I 
didn't  bother.  Besides,  I  lacked  the  nerve  to 
interview  such  a  celebrity. 

Xext  day  T  came  home  and  found  Eddie 
in  a  frenzy  of  packing.  lie  had  slipped  his 
suit  under  the  mattress  so  as  to  get  it  thor- 
oughly wrinkled,  shampooed  his  hair,  bought 
dark  powder  which  he  had  applied  heavily  in 
order  to  give  him  a  Latin  appearance,  had 
boughl  an  Italian  newspaper,  went  to  the  Bilt- 
more  Hotel  with  it  stuck  under  his  arm,  in- 
quired  for  Miss  Pickford,  giving  the  name  of 


For     eleven     weeks 

Neil  was  a  mechanic 

at  the  Ford  plant. 


I  Stop  To 

This   installment   of  a   favorite   leading  man's 
to  earn  a  living,  until  he  is  forced  to  abandon 

working  in  an 

B?  Neil 


Eduardo  Filipo,  spoke  broken  English,  was  signed 
on  the  spot  at  something  like  $150  a  week,  and  was 
leaving  for  California  that  afternoon! 

I  saw  him  about  six  months  afterward,  and  he 
told  me  that  he  had  been  successful  in  keeping  tip 
his  masquerade  until  he  reached  Chicago,  and  was 
there  so  overwhelmed  at  the  boldness  of  his  under- 
taking that  he  confessed  he  was  not  an  Italian, 
and  that  his  real  name  was  Eddie  Phillips.  Ap- 
parently the  powers  that  be  were  very  lenient,  for 
he  was  taken  to  the  Coast  where  he  got  a  job. 

Shortly  after  this,  my  father  came  from  New 
Haven  to  pay  me  a  visit  one  Saturday  afternoon. 
The  young  man  I  was  rooming  with  at  the  time 
came  home  saying  that  he  had  heard  of  a  job,  but 
that  after  ten  years  of  stage  experience,  he  thought 
he  ought  to  get  more  than  fifty  dollars  a  week, 
which  was  all  the  part  paid.  It  was  to  go  to  Bir- 
mingham, Alabama,  to  join  the  road  company  of 
De  Wolfe  Hopper's  "Better  'Ole." 

I  hurried  down  to  see  the  agent  about  it,  and 
after  telling  him  all  about  myself  and  my  past 
experience  on  the  stage,  which  was  nil,  I  talked 
him  into  giving  me  a  contract  which  necessitated 
my  leaving  that  night.  I  am  sure  that  whatever 
chances  I  ever  had  of  getting  to  heaven  were 
completely  thrown  to  the  winds  by  the  whop- 
pers I  told  in  order  to  convince  him  that  I 
could  fill  the  part. 

I  came  back  to  the  house  about  four  o'clock 
to  tell  my  dad  that  I  was  leaving  for  Birming- 
ham. He  could  not  quite  grasp  the  fact  that 
things  were  done  in  such  a  hurried  way  in 
the  show  business. 

It  was  then  my  painful  duty  to  go  to 
James  Montgomery  Flagg,  for  whom  I 
had  been  posing  for  the  past  six  months. 
He  was  in  the  midst  of  illustrating  a 
story,  and  naturally  was  upset  at  the 
necessity  of  finding  another  model  who 
looked  like  me. 

I  left  that  night  at  six  thirty  with  a 
dollar  and  a  half  in  my  pocket,  feeling 
very  much  as  Amundsen  must  have  felt  when 
he  started  for  the  North  Pole.  Up  to  this 
time  I  had  never  been  so  far  away  from 
home,  and  was  thrilled  silly  with  the  idea  of 
spending  a  night  in  a  sleeping  car.  The  train 
was  eighteen  hours  late  getting  into  Birming- 
ham, and  the  result  was  that  my. dollar  and  a 
half  soon  vanished.  By  the  time  the  journey 
ended  I  was  ready  to  eat  the  plush  off  the 
seats. 

I  saw  the  performance  that  evening  and 
was  duly  impressed  by  the  job  I  was  to  un- 
dertake. I  rehearsed  for  three "or  four  days, 
and  two  days  outside  of  New  Orleans,  where 
we  were  going  for  a  week's  engagement.  I 
went  on    for  the   first  time.      My  lucky   star 


49 


Look  Back 


life  story  finds  him  the  hero  of  many  an  attempt 
the  make-believe  of  the  theater  for  the  reality  of 
automobile  factory. 

Hamilton 

continued  to  shine,  and  contrary  to  my  expectations, 
I  suffered  no  pangs  of  stage  fright. 

After  the  performance,  when  we  were  all  sitting  in 
staurant,  Mr.  Hopper  asked  what  stage  experience 

I  had.     I  realized  that  if  1  continued  lying  1  would 

.    he   found  out.  so   I  told  him   that   this  was   my 

appearance  before  an   audience.      I   expected   him 

ach  into  his  pocket  and  give  me  my  car  fare  back 

cw    York.      Instead,    he    was    much    amused    and 

kind  and  sympathetic,  and  promised  to  show  me  how 

my  performance  could  he  improved.     Me  would  sit  in 

the  audience  and  criticize  my  enunciation. 

A  week  later  we  opened  in  New  Orleans,  and  it  was 
then  apparent  that  my  lucky  star  was  beginning  to 
wane.  We  had  a  rehearsal  at  nine  o'clock,  and  the 
fellow  I  was  palling  with.  Jack  Parry,  and  I  both  over- 
slept. Instead  of  arriving  at  the  theater  at  nine  o'clock. 
ve  did  not  get  there  until  ten.  Never  shall  I  forget 
walking  into  the  Tulane  Theater  and  there  was  not  a 
soul  to  be  seen.  We  peered  into  the  corners  and 
finally  walked  out  on  the  stage,  mustering  sufficient 
courage  to  get  in  the  middle  of  the  stage.  The  curtain 
e  could  look  out  into  the  big.  dark,  silent, 
mysterious  auditorium. 

I  turned  to  Jack  and  acting  as  if  we  were  playing 

a  audience.  I   announced  in  a  loud  voice  that  the 

old  walrus  had  called  off  the  performance.     Jack  made 

some    answer    equally    flippant      We    started    a    mock 

h  apologizing  to  the 
audience.  It  went  along 
about  five  minutes,  when 
suddenly  from  the  dark: 

the  auditorium   boomed 

Mr.  Hopper,  announcing  in 

a    tone    that     would     have 

struck  fear  in  the  heart  of 

a  brass  horse,  that  if  he  had 

in  he  would  kill  us  both. 

came  on  the  Stage  and 

■ceded    to   put   the    fear 

I  and  himself  in  our 

hea  • 

The  dressing  rooms  were 
back  of  the  Stage  in  tiers. 
and  one  by   one  the   d 

pen.     Much  like 

iut    of    their 

hives,  the  rest  ol  the  com- 

y     came     down     to     re- 

I    did    everything 

wrong,   which   seemed   only 

t"    increase   the   old    man'-; 

and  after  three  hours 

.1  was  called  off, 

and   we    went    back   to   the 

hotel   to   wait    for   the  eve- 

nii.  rmance    in    dis- 

gra 


Neil  failed  to  impress 
as  a   bond  salesman. 


Then   began   a   series   of 


Neil  Hamilton  cast  aside  his  work  as  an  artist's  model  to 
join  a  road  company  on  a  few  hours'  notice. 


one  nighters — thirty  of  them.  On 
our  way  to  Huntington,  V 
Virginia,  we  stopped  over  at  a 
mineral  spring.  We  had  a  four- 
hour  lay-over,  and  during  this 
time  Jack  must  have  drunk  at 
least  ten  ladle--  of  undiluted 
water  from  the  springs.  Suffice 
it  to  say  that  I  have  never  seen 
ick  a  man  in  all  my  life. 
We  got  to  Huntington  about 
two  in  the  afternoon,  and  we 
decided  that  we  would  take  a 
little  walk  to  stretch  our  I 
This  we  did  until  five  o'clock, 
and  being  completely  all  in. 
left  a  call  for  -even  thirty.  We 
went  to  bed  for  a  short  nap.  I 
awakened,  and  not  having  a 
raised  the  window  shade 
and    if    was   pitch   dark.      Having 

ling  that  seven  t: 
had  hed   for  the 

phone  and  asked  the  clerk  what 
time   it    M  "Ten    fir 

replied.     W  I   to 

have  been  al  jht  ! 


50 


I  Stop  To  Look  Back 


I  got  Jack  ii])  and  raised  hell  with  the  manager  of  the 
hotel.  I  came  back  in  a  few  minutes  to  find  Jack  sitting 
on  the  edge  of  the  bed  hammering  his  wrists  with  a 

hairbrush.     I  thought  he  had  gone  mad.     He  said  not 
to  worry,  as  he  had  thought  out  a  plan. 

His  scheme  was  to  call  in  a  doctor  and  persuade  him 

go  to  the  theater  and  say  that  Jack  had  slipped  on 
the  icy  pavement  and  had  painfully  Sprained  his  wrist. 
A  long  cock-and-bull  story  would  thus  pacify  Mr.  Hop- 
per and  tin'  company  manager. 

By  this  time  Jack's  wrists  were  twice  their  normal  size. 
To  our  consternation,  we  found  no  doctor's  office  open 
and  no  drug  stores.  In  my  mind  I  saw  myself  packing 
and  heading  lor  Xew  York.  We  were  walking  along 
wondering  what  to  do,  when  we  passed  a  young  man 
and  a  lady.  Jack  stopped  me,  saying,  "Wait  a  second." 
Me  hurried  hack  to  the  stranger.  After  a  few  words 
they  shook  hands.  Of  course,  I  couldn't  make  anything 
out  of  the  proceedings,  but  Jack  told  me  later  that  he 
had  talked  him  into  going  to  the  theater  with  us  and 
impersonating  a  doctor.  The 
young  man  diplomatically  ex- 
cused himself  from  his  escort 
— where  she  went  I  don't  know 
— and  went  back  to  the  thea- 
ter to  carry  out  this  absurd 
masquerade. 

In  the  meantime,  the  snow 
had  begun  to  fall  heavily,  but 
not  quite  heavily  enough  to 
stop  our  manager  from  stand- 
ing outside  waiting  for  us  to 
show  up.  He  had  my  make- 
up box,  and  as  soon  as  I  came 
in  hailing  distance  he  threw  it 
at  me.  Realizing  that  war  had 
been  declared,  I  beat  a  hasty 
retreat. 

It  so  happened  that  Jack 
was  very  necessary  to  the 
show,  as  he  spoke  French.  It 
was  then  about  ten  thirty.  He 
had  barely  time  to  rush  in. 
throw  on  his  red  wig  and 
make-up,  and  stalk  on  to  play 
the  French  porter  with  Mr. 
Hopper. 

I  do  not  know  what  I  did, 
but  I  remember  walking  for 
hours,  finally  getting  to  the 
hotel  about  two  in  the  morn- 
ing. As  I  came  into  the  room. 
my  eyes  met  a  sight  that  I 
shall  never  forget.  There  was 
Jack  sitting  on  the  bed,  still 
in  his  red  wig,  his  funny  costume  and  wooden  shoes. 
He  hadn't  bothered  to  remove  them  or  his  make-up,  but 
sat  with  his  hands  in  his  lap,  the  personification  of 
despair. 

They  were  not  going  to  pay  me  at  all.  but  they  finally 
did  give  me  my  salary,  taking  out  for  the  previous  night 
when  I  hadn't  worked,  hut  refusing  to  pay  my  fare 
back  to  New  York.  The  salary  that  I  drew  wasn't 
enough  to  get  me  hack;  so  T  had  to  borrow  from  some 
of  the  more  affluent  members  of  the  company.  I  arrived 
in  Xew  York  once  more,  broke,  to  continue  the  search 
for  work. 

My  next  engagement  was  with  Grace  George,  in 
"The  Ruined  Lady."  The  interim  had  been  filled  in 
with  posing  and  with  six  weeks  as  office  bov  for  Cham- 
berlain Brown,  the  agent,  after  which  T  went  to  Baltimore 
in  a  fashion  show,  making  one  hundred  dollars  for  the 


Mr. 


ten  days,  and  among  the  members  of  the  troupe  there 
was  a  young  man  named  Reed  Howes.  We  struck  up  a 
friendship,  and  when  we  got  back  to  New  York  decided 
to  see  if  we  could  get  a  place  to  live  that  would  accom- 
modate both  of  us,  always  with  an  eye  on  the  expense 
account. 

My  first  stock  experience  was  in  "The  Tailor-made 
Man"  in  Toledo,  Ohio.  After  a  try-out  of  two  weeks, 
the  manager  told  me  that  he  would  keep  me  on  as  a 
permanent  member,  but  he  could  not  offer  to  pay  the 
salary  we  had  originally  agreed  upon — fifty  dollars — 
due  to  poor  business,  but  could  afford  to  pay  only 
twenty-five  dollars. 

I  wanted  the  experience,  and  felt  that  I  could  live  on 
twenty-five,  though  I  was  bitterly  disappointed.  How- 
ever, it  did  not  take  me  long  to  find  out  that  twenty-five 
dollars  a  week  was  a  very  small  salary  when  one  is 
expected  to  supply  a  change  of  costume  every  week.  I 
remember  I  had  two  suits  which,  with  clever  manipula- 
tion, such  as  wearing  the  trousers  of  one  suit  with  the 

coat  of  the  other,  created,  I 
hoped,  the  impression  of  an 
extensive  wardrobe. 

Elise  Bartlett,  who  later 
became  Mrs.  Joseph  Schild- 
kraut,  was  leading  woman. 
The  engagement  lasted  six- 
teen weeks,  and  during  it  an 
incident  occurred  that  served 
to  change  my  whole  exis- 
tence. There  was  a  young 
man  in  the  company,  Wel- 
lington Parks,  who  was  the 
nephew  of  some  furniture 
people  in  town.  He  had  a 
great  desire  to  go  on  the 
stage,  and  was  a  second-as- 
sistant stage  manager  with 
no  salary,  but  was  allowed  to 
play  small  parts.  In  return 
his  folks  lent  the  company 
furniture  which,  of  course, 
was  soft  for  the  manager. 

Parks    was    young    and    I 
was,  too,  and  he  thought  it 
was  exciting  that  I  had  been 
on  the  road,  had  been  an  ex- 
tra in  pictures,  and  knew  so 
many  artists.   The  result  was 
that  we  became  good  friends. 
He    was    always    telling    me 
about   Elsa  Whitmer,  a  girl 
he  wanted  me  to  meet.     He 
was  always  saying,  "I  know 
you    will    like    her."      Curi- 
ously enough,  I  found  out  later  that  he  told  her  the  same 
about  me.     She  was  the  treasurer   of   another  theater 
which  played  all  the  road  shows. 

One  Saturday  morning,  just  after  we  had  finished 
our  rehearsal,  and  had  gone  out  for  a  bite  to  eat  before 
the  matinee,  he  said  to  me,  "Here  comes  the  girl  I  have 
been  wanting  you  to  meet."  As  there  was  no  getting  out 
of  it,  we  stopped  and  introductions  were  duly  -acknowl- 
edged. We  chatted  a  few  moments  and  then  said  good- 
by.  When  I  reached  the  theater  and  was  in  my  dressing 
room,  I  realized  that  here  was  the  girl.  By  that  I  meant 
the  girl ;  that  if  there  was  to  he  a  future  Mrs.  Hamilton, 
I  had  at  last  discovered  her. 

All  my  evenings  were  occupied  at  the  theater,  as  were 
lurs  also,  and  not  only  were  my  evenings  occupied,  but 
the  greater  part  of  the  nights  when  I  got  home,  trying  to 
Continued  on  page  96 


Hamilton    begins    to    realize    that    life    is    a 
serious  proposition  after  all. 


51 


Goodness  Gracious — What  Next? 

Players  have  dallied  with  turtle  racing,  lion  taming,  and  stilt  racing,  .mil 
now  we  present  a  class  ot  promising  beginners  in  the  manly  art  of  tumbling. 


ft 


Laurel  and  Oliver  Hardy,  below,  take  their  daily  exc: 
in  this  rash  fashion  and.  a>  usual.  Hardy  i-  having  all  the  fun 
and  Stan  all  the  misery. 


Fred  Kohler,  below, 
must  not  be  half  as 
tough  .'in  he  looks, 
or  a  ni/e  liT  chorus 
girl  like  Kcss  Collins 
would  not  trust  life, 
limb  and  the  pursuit  of 

fame  on  such  wabbly 
those    half- 
bent  legs  of  his. 


When  diets  fail  try  this  as  a  weight  regu' 
for  of  all   gymnastic   lifting   and   twirling, 
have  never  seen  such  unstrained,  pleased  expres- 
sions as  those  on  the  faces  of  Ann  Christ 
Kay  McCoy,  below.    Horizontal,  Miss  Chi 
fifty-fifty,    Miss    M  I 


Mitzi    Green,    1 

and  plays  steam  shovelwith 
William  Austin. 


52 


Reginald  Denny  is  fascinated  by  Kay  Johnson,  as  Madame 

Satan. 


When  DeMille 

A  modernistic  Zeppelin  is  the  scene  of  cream-puff 

of   enjoying   if  we   should   suddenly   come    into   a 

Satan"  will  have  a   dash  of   melodrama  for 

By  Myrtle 

Come,  if  you  would  know 
How  to  put  sin  in  syncopation! 
Come,  don't  be  so  slow ! 
Satan  will  show  you 
A  brand-new  sensation ! 
Rich  man  !     Poor  man  ! 
Come,  ladies,  grab  your  man! 
Follow  me,  we'll  see, 
Who's  really  low-down ! 

SOCIETY  syncopates!  Blue  bloods  go  haywire!  In 
the  bizarre,  metallic  setting  of  a  blimp,  their  fancy  is 
caught  by  the  novelty  of  becoming  the  machinery 
which  smooths  their  button-pressing,  speed-mad  existence. 
Electricity  emblazons  its  force  through  battalions  of 
feminine  watts.  Vamps  of  the  voltage  surcharge  the 
pulses  of  gay  worldlings.  Globes  of  girl  appeal  string  an 
ampere  enticement,  through  which  glides  the  sinuous  glow 
of  Madame  Satan,  mazda  of  the  latest,  maddest  movie. 
Fascinating  she  is,  in  her  black  gown  slashed  with  red  and 
gold,  her  eyes  sparkling  through  the  slits  in  her  mask. 

Helmeted  and  goggled  girls  pilot  little  silver  racers 
among  the  merrymakers,  their  fleet  of  cars  bearing  all 
the  appurtenances  of  a  gas  service  station  for  the  guests' 
refreshment — gilded  oil  cans  for  cocktail  shakers,  cylinder 
goblets.  Human  batteries,  recharged,  plunge  into  the 
breathless  marathon  around  the  dance  floor. 

Having  staged  parties  in  golden  halls  of  modern  splen- 
dor, in  ancient  palaces  of  a  crumbling  grandeur,  in  sunken 
baths  and  at  smart  seaside  resorts,  sat- 
Katherine  Irving      irizing  the  foibles  of  the  wealthy,  there 
attends    the    ball      was  only  one  locale  left  for  the  impre- 
as  the  Spider.        sario  of  movie  magnificence — the  air. 


Takes  To  Air 

deviltry  of  the  sort  that  we  are  supposed  to  dream 
million  dollars,  and  for  good  measure  "Madame 
those    who   like   it  with   their  social  epics. 

Gebhart 


The  "Zeppelin  Ball"  of  "Madame  Satan"  promises  to  be 
■rthy  sue  i  the  "Cinderella  Ball"  of  "Forbidden 

Fruit."  the  "Candy  Ball"  of  "The  Golden  Bed."  and  his 
other  glittering  interpolations.     So  far.  however,  spectacle 
often  irrelevant.     At  last  its  existence  is  justified  in 
•ntial  and  expresses  the  story's  keynote. 
The  "Ballet   Mecanique"   is  designed   as  the   spirit  of 
our  mechanical  age.     From  a  torpedo  shoot  the  dancers ; 
feminine  wheels  roll  down.  Hashing  beams  of  light,  arms 
weaving   gyrations ;    everything   is   awry,    in    a   scraping, 
grating,  screaming  bedlam  of  noise.     The  machinery,  if 
you  get  the  point,  instead  of  a  headache,  is  disjointed. 
Suddenly,  there  spurts  out  a  bolt  of  electricity,  in  the 
•n  of  Theodore  Kosloff,  who  often  lias  staged  spec- 
tacular dances,  but  now  appears  himself  for  the  first  time 
in    ten    years.      Electricity    swings    things    into    uniform 
»n.  and  the  party — pardon,  the  pandemonium — is  on. 
Jus  being  felt  along  the  movie  sector, 

and  the  novelty  of  tapping  ensembles  and  jazz  glitter  be- 
gins to  pall.  DeMille  ip  to  place  the  final  touch  to 
the  •  glamorous  productions.  His  second  talking 
film,  and  his  first  musical  one.  promises  to  outtap  all 
the  revues.  With  the  pi  horus,  its  orchestration  i> 
d  to  symphonic  proportii 
Beginning  on  a  note  of  light  farce,  society  i  !  in 
bright  verbal  fencing,  such  as  characterized  the  introduc- 

I  humor, 
flavored   with    irony.       Satiric   chat: 

with  mocking  laughter  US  The      Pheasant 

ome.      There  things  hap-       Madame' s     rival] 

pen.     Flirtations  skim  their  dangerous       is  Lillian  Roth. 


The  glamorous  ball  aboard  the  Zeppelin  is  said  to  exceed 
all  Mr.  De  Mille's  past  splurges. 


54 


Wken  DeMille  Takes  To  Air 


Roland    Young    helps    Lillian    Roth    to    a   fire 
escape  in  one  of  the  land  sequences. 


ways,  with  girls  perched  on  fire  escapes, 
mysterious  women  concealed  under  cover- 
lets, masked  wives,  and  the  array  of  so- 
ciety's unrealities  that  always  entice  the  cot- 
ton-and-cabbage  classes. 

Yes,  there  is  a  bathtub,  a  glass  bath,  shin- 
ing and  opaque.  It  is,  however,  in  the 
Brooks  home,  not  on  the  Zeppelin.  I  am 
very  much  disappointed.  I  was  anxious  to 
see  how  ablutions  might  be  contrived  up  in 
the  air. 

A  coldly  efficient  wife,  who  super- 
vises a  clock-work  home,  and  her  rest- 
less   husband    are    about    to    separate. 
Her    penchant    is    to    improve    things. 
While    she    teaches    a    Sunday-school 
class  such  as  one  sees  only  in  a  musical 
show,  he  is  amused  by  a  vaudeville  vamp. 
His  pal  throws  a  party  on  dad's  Zeppelin, 
anchored  in  the  air  for  an  oil  company's  ad- 
vertisement purposes.     There  a  Ziegfeldian 
beauty  show  is  staged,  set  in  symbols  of  our 
ultra-modern  trap  drums. 

( ruests  enter  through  the  mooring  mast  and 
down  the  catwalk  to  the  ballroom  of  the  Zep. 
Along  the  catwalk  a  pony  chorus  performs 
the  "Cat  Ballet."    Little  black  kittens  pur: 

Meow!     Paw  me — mustn't  claw  me 
Or  ever  start  to  spat ! 
Can't  be  that  kind  of  a  cat ! 
Let  me  hold  your  mitten, 
Cuddle  up  like  a  kitten  ! 


The  Golden  Pheasant,  really  Trixie,  the  vest- 
pocket  vaudevillian,  dressed  up  in  a  few  bunches 
ol    leathers,  sings  her  own  ad: 

Ever  see  such  a  chassis  ? 

No  one  never  did! 
Expensive  but  classy — 

What  am  I  bid? 

With  a  shrill  call,  Madame  Satan  sweeps  in, 
suggesting  in  her  song  that  they  meet  Madame. 

I  must  admit  I  claim 
A  mighty  reputation. 
Not  unknown  to  fame, 
To-day,  they  say 
Satan  is  not  Meestaire, 
But  Madame! 

The  Golden  Pheasant,  ehallenging  Madame 
to  dance,  struts  the  electric  measures.  Madame 
is  subtly  provocative  in  her  slow  waltz.  The 
bidding  turns  from  the  Golden  Pheasant,  and 
Boh  wins  the  satanic  Madame. 

Billows  of  tulle,  balls  of  fluff,  tossed  on  the 
spray  of  laughter.  Animal-head  muffs,  furry 
feet.  Denizens  of  the  for- 
est in  a  jungle  carnival,  a 
zoo  gone  jazz.  Water,  in 
a  cascade  of  crystals,  trail- 
ing a  liquid  voice.  The 
Gall  of  the  Wild,  whose 
elfin  whistle  grows  into  a 

Elsa   Peterson,   as  M'artha, 

urges  the  wife  to  fight  for 

her  husband's  love. 


As   the   Call  of  the   Wild,   Vera   Marsh 
strikes  a  dizzy  note. 


While  they  sin  from  the  cup  that  cheers  and  befuddles,  a  glorified  circus  entertains 
them.  The  Spider  Woman  spins  her  opalescent  web.  Triplets  dances,  with  two 
dummies  of  herself  alongside.  Confusion,  into  whose  silk-net  costume  went  two  hun- 
dred balls  of  yarn,  though  it  doesn't  conceal  very  much,  illustrates  her  name.  The  Six- 
armed  Woman  docs  her  semaphoric  act.  No  wonder  the  eyes  of  gentle  Alice  in 
Wonderland  grow  rounder  and  rounder! 

A  girl  auction  determines  the  mosl  beautiful  woman,  who  will  lead  the  grand  march. 
Charmers  exhibit  their  qualifications,   each   singing  her  specifications. 

I'm  the  Spirit  of  Innocent  Pride! 

Proud  of  the  fact  that  I've  nothing  to  hide! 


f^r 


When   DeMille  Takes  To  Air 


55 


primitive  seductiveness,     A   Fisherman's  Girl 
— her  hig  striped  hat  never  could  get  in  a  boat, 

so  she  goes  tor  a  ride  in  aZi 

A-  time  and  the  drama  progress,  the  whole 
ensemble  speeds  into  the  Low-down,  a  jeweled 
danse  modern*.  Rajahs  and  princes  and  shahs 
ruh  elbows  with  peasants.  The  Bulls  of  Wall 
I  roar.  Jockeys  dart  among  pompous 
in  senators  and  sinewy  gladiators.  1 V- 
mure  Juliet  is  wooed  by  a  hold  and  bibulous 
Romeo.  Generals  and  poilus,  potentates  and 
paupers,  step  with  the  show  girls  of  the  beauty 
brigade.  Senorita  Madrid  graciously  flirts 
with  a  ragged  Villon.  Little  Red  Riding-hood 
carries  pearls  in  her  basket,  instead  of  gro- 
ceries. The  Emerald  "learns  myriad  green 
light-  glials  through  the  fog  of  cigarette 

smoke! — while   the   Spirit    of   Innocent    Pride 
wonders  what  makes  everybody  so  gay. 

Light  italicizes  these  aerial  antics.     Gleaming 
shafts  lay  a  silvery  brilliance  over  the  throng, 
picking  out  jeweled  slippers  tapping  a  staccato 
SS,  slim  beauty  radiating  prisms  from 
quins,  petals  unfurled  and   tossed  about 
in    mad    animation.      Headlong   the 
plunge  into  a  gaudy  hurrah !     En- 
joyment is  tuned  to  an  intense  pitch. 
Dynamic     emotions     parry,     strike 
flint,     burst      into     flame      against 
wealth's     backdrop.       Avid     gayety 
spews  its  velvet-sheathed  common- 
Through  the  melee  glides  the 
faintlv   amused   Madame,   her   eves 


Betty 

Francisco's 
Little  Red 
Riding-hood 
carries 
pearls  in 
her  basket. 


The  prim  wife  and  the  restless  hus- 
band are  Kay  Johnson  and   Reginald 
Denny. 

inscrutable,    her    lips    curved    to    a 
taunt,   witchery   in   her   intimations. 

Low-down,  low-down ! 

Let's  make  it  a  show-down! 

You're  claiming  that  you're  flaming, 

But  you'll  soon  tire  out, 

And  put  the  lire  out  ! 

You  think  you're  hot, 

I  know  you're  n< >t ! 


Stamping  slippers  accelerate  into 
high  gear.  The  swell  and  dip  and 
quiver  of  it  carries  you  along  with 
its  rhythmic  heating.  Fingers  of 
light  glance  from  metal  cloth  to 
shining  brocade:  impulses  flame  into 
imperious  demands;  the  melodra- 
matic display  of  a  de  luxe  revel 
heat--  it-  boom-boom  tempo. 

Ting-a-ling!  A  distant  tinkle! 
Dulcet  chiim--'  Resonant  gongs! 
A  "Clock  Ballet"  announces  tin- 
hour  of  unmasking,  swift  Minutes 
tapping  little  silver  bells  "it  their 
hat-. 

Dashing  Robin  Wood  —  '< 
lows   Madame  Satan   into  the  chart 
room,  intrigued  by  her  siren 

"Just  one  little  word,  liki 
refrain."    he   begs,    in    tuneful 
iug.     She  gives  him  a   Mona   Lisa 
smile. 

A  storm  blows  up.    The  Zeppelin 
breaks    loose    from    it-    mast,    and 
t"--.  -     in    the    wind.       Tin 
grab  parachut<>  and  jump  in  frenzied  panic.    There  i-.  a  shortage  of  parachutes.    Madame 
Satan;  who  really  isn't  wicked,  after  all — but  maybe  you  have  suspected  that'     gives  hers 
to  her  cowardly  rival,   the  Golden   Pheasant.     Landing  in  a  lion  farm,  in  a  Turkish  bath, 
and  in  other  such  places  where  it  is  against  etiquette  rules  for  parachutes  to  land,  the  he- 
al stepper-  make  their  way   to   their   various   home-,   while   Bob   and    Mada 
;"t  in  the  air-hip. 
A  great  to:--  of  wind  snaps  the  blimp,  lightning  rip-   it   into  halve-  ju-t   a-  Madame 
Unmasks.       Bob   discover-    that    the  mysterious  Madame   i-  hi-   wife!      He   i-  borne  ;, . 
in  one  part  of  the  ship,  she  in  the  other.     Both  land  in  the  same  ocean,  however,  so  t! 
is  a  wet  and  aaltj'  ki-s  for  the  fade-out.  [<  ontinued  on  p 


Alice  in    Wonderland,   played   by 
Carlysle,    sees    plenty. 


Mary 


50 


Old   maid   and   lemonade   provide   high-voltage   excitement  for   Buddy   Rogers,   Mary   Brian,  John  Darrow, 

and  Sylvia  Picker 

Open  House  For  Pep 

First  organized  by  certain  young  players  who  couldn't  afford   expensive  clubs,  the  Thalians   now  boast 
a  membership  that  includes  all  the  high  spirits  and   youthful   good   looks    in    Hollywood.      This   article 

takes  you  into  the  inner  circle  of  their  joyous  week-ends. 

By  Samuel  Richard  Mook 


THREE  years  ago  when  the  economy  wave  hit  the 
producers  and  they  tried,  without  success,  to  cut 
the  salaries  of  your  tried  and  true  favorites,  they 
got  together  to  discuss  ways  and  means.  Production 
costs  had  to  he  reduced. 

Of  course,  they  could  have  eliminated  supervisors,  but 
these  worthy  gentlemen  are  usually  some  executives' 
thirty-fifth  cousins  and  must  be  kept  on  the  pay  roll, 
even  though  their  presence  means  running  the  cost  of 
the  picture  into  the  million-dollar  super-super-special 
class.  The  cameramen,  the  prop  boys,  the  director,  the 
scenario  writer  were  all  necessary  evils.  The  only  place 
left  to  cut  was  the  bit  players  and  young  featured  play- 
ers. Consequently  their  salaries  started  dropping  like 
the  Stock  Exchange  in  a  bear  market. 

These  kids  suddenly  found  themselves  unable  to  at- 
tend premieres  at  five  dollars  a  throw.  The  Montmartre, 
the  Brown  Derby,  the  Coconut  Grove,  and  the  Blossom 
Room  at  the  Roosevelt  became  treats,  instead  of  a  habit. 
And  yet  youth  must  be  served.  They  had  to  have  their 
fun.  So  they  got  together  and  organized  the  Thalian 
Club,  which  serves  two  purposes:  it  enables  new  players 
of  promise  to  keep  in  touch  with  each  other  and,  at  the 
same  time,  their  bimonthly  meetings  provide  them  with 
a  great  deal  of  pleasure  at  a  small  expenditure  of  cash. 

Last  summer  many  of  them,  unable  to  join  the  ex- 
pensive beach  clubs,  got  together  and  decided  to  establish 
a  beach  house  of  their  own.  .Many  meetings  were  held, 
many  the  wisecracks  hurled  at  the  long-suffering  ways- 
and-means  committee.  Eventually,  each  member  was 
taxed  the  modest  sum  of  five  dollars  and  the  committee 
was  told  to  get  a  beach  house,  or  to  be  prepared  to  face 
a  firing  squad. 

Finally,  down  on  the  Palisades  del  Rey,  they  found 
their  house.  Two  old  maid  sisters,  not  on  speaking 
terms  with  each  other,  had  built  it.  It  is  divided  through 
the  center,  each  half  being  a  complete  unit- -kitchen, 
sitting    room,    bedrooms,    and    bath.       Not    wishing    to 


change  the  spirit  with  which  the  sisters  two  had  imbued 
the  place,  the  Thalians  have  kept  it  that  way  and  the 
boys  have  one  side  and  the  girls  the  other.  The  only 
difference  now  is  that  the  inhabitants  of  the  two  sides 
speak  to  each  other.     Oh,  yes  !     They  speak — and  how ! 

The  club  has  its  own  restaurant,  where  the  best  food 
in  and  about  Hollywood  is  served  at  the  most  reasonable 
prices.  This  is  presided  over  by  Bill  Dillon,  an  erstwhile 
member  of  the  defunct  Paramount  school,  who  is  club 
father,  mother,  big  brother,  and  guardian,  all  rolled  into 
one.  It  was  Bill  who  was  largely  responsible  for  the 
beach  club,  and  it  will  be  Bill  who  operates  the  town 
club  when  the  weather  is  too  chilly  for  beaches,  and  it 
will  be  Bill  who  will  operate  the  club  at  Arrowhead 
Lake  later  on  for  three  weeks  of  winter  sports. 

When  they  were  ready  to  open  the  dining  room,  it 
was  discovered  that  no  silver  went  with  the  house.  Then 
it  was  that  the  Thalians  proved  they  were  connoisseurs 
of  flat  silver,  for  they  collected  a  complete  service  from 
all  the  best  hotels,  night  clubs,  cabarets,  dives,  and  what- 
nots in  and  around  Hollywood.  (  Hotel  Managers  Asso- 
ciation please  note :  if  any  of  your  hostelries  are  not  rep- 
resented, kindly  notify  the  club  secretary  and  the  over- 
sight will  be  remedied  immediately.) 

The  table  artillery  attended  to,  the  house  committee 
next  turned  its  attention  to  the  matter  of  furnishings 
for  the  club.  The  house,  as  rented,  showed  what  could 
be  done  with  period  furniture  when  one  period  only  is 
used.  This  club  is  probably  the  finest  exhibit  extant  of 
the  miscellaneous  period,  which  dates  from  the  discovery 
of  America  to  the  present  time.  The  chairs  look  like 
colonial  pieces  and  none  of  the  bottoms  have  been  re- 
newed, because  none  of  the  cane  workers  of  that  day  are 
available  and  a  1930  bottom  would  be  incongruous. 

The  bed  springs  were  manufactured  during  the  Civil 
War.  and  all  saw  active  service  with  one  army  or  the 
other.  They  have  not  been  restored  on  account  of 
sentiment.    The  cushions  on  the  morris  chairs  are  repre- 


Open   House    For  Pep 


57 


sentntive  of  the  time  when  California  grew  only  short 
cotton,  and  every  lump  in  them  is  dear  to  a  Californian's 
heart,  because  it  makes  one  realize  how  the  State  has 
progressed. 

The  carpets  were  rescued  in  the  nick  of  time  from  a 
junk  dealer  who  was  fattening  his  goats.  The  bridge 
tables  and  lamps  were  donated  by  various  public-Spirited 
Thalians.  Each  member  was  supposed  to  contribute  a 
piece  oi  furniture.  If  they  did.  it  was  something  they  had 
been  keeping  as  a  reminder  of  their  "1  knew  him  when" 
days.  The  house  does  not  look  like  a  DeMille  drawing- 
m,  but  they  have  a  swell  time  in  it. 

What  the  club  lacked  in  tone  as  to  furnishings  was 
more  than  made  up  in  the  splendor  oi  the  members'  swim- 
ming suits  and  beach  costumes.  The  parade  staged  the 
day  the  house  was  opened  would  have  put  to  shame  any 
:itic  City  bathing-beauty  contests.  That  night  the 
Thalian  finery  hung  on  the  clothesline  in  the  hack  yard  to 
dry.  Next  morning  the  line  was  still  there,  but  the  swim- 
ming suits  were  gone  forever.  Miscreants!  Now  any- 
thing goes.  In  fact,  far  from  appreciating  the  display  of 
masculine  pulchritude  afforded  by  a  sight  of  Davie  Rol- 
lins, Johnny  Harrow.  Billy  Bake  well,  Matty  Kemp,  and 
others  hopping  around  with  the  tops  of  their  suits  rolled 
down  in  the  inu  sun  tan.  some  old  maids  in  the 

vicinity  have  complained  to  the  cops  so  often  that 
latter  have  threatened  to  pinch  the  place. 

Sunday  is  the  big  day  there.  Mary  Brian 
-■onallv  drops  in.  looking  like — like — words 
fail  and  no  flowers  are  handy  to  say  it  with. 
but  whatever  it  is  she  looks  like,  it's  enough  to 
make  my  heart  start  doing  gymnastics.  Frank 
Albertson  is  a  frequent  visitor,  and  so  is  Holly 
Hall,  who  sang  the  Varsity  Drag  number  in 
•d  News,"  in  New  York.  Mrs.  Lake. 
Arthur's  mother,  is  usually  to  be  found  at  the 
bridge  table.  He  frequently  gets  into  violent 
arguments  with  Matty  Kemp  as  to  which  is 
entitled  to  the  use  of  the  surf  board. 

Volley  ball  is  the  chief  sport,  next  to  swimming,  and 
you  usually  find  Rex  Bell,  Warren  Burke.  Tommy  Carr. 
Mary's  son,  Harold  Goodwin.  George  Lewis,  David 
Rollins.  Billy  Bakewell.  Arthur  Lake.  Sammy  Cohen, 
Jnald  Denny,  and  Buddy  Wattles  batting  wisecracks 
back  and  forth  over  the  net.  along  with  the  ball. 

Once  the  game  was  threatened  with  extinction.     The 


Claude    Gillingwater,    Jr.,    and    Buddy    Wattles    don't    seem    to    find 
James  Hall's  music  as  pleasing  as  Merna  Kennedy  does. 


court  is  on  a  sand  lot  next  to  the  club.  All  at  once,  the 
person  who  owns  the  vacant  lot.  name  furnished  on  re- 
quest, and  who  had  not  been  seen  for  month-,  bore  down 
on  the  game  like  a  battleship  under  full  steam,  jabbed 
her  pink  parasol,  which  harmonizes  beautifully  with  her 
red  hair,  viciously  into  the  sand  and  declared  that  she 
Continued    on    page    112 


Though   you   are   sure    to   find   your    favorite    in    this   group,  we'll  tell  you  that  in  the  first  row,  seated,  are  Polly  Ann 
and    Loretta    Young,    Mary    Brian,    Merna    Kennedy,    Claire  Windsor,  Violet  La  Plante,  Edna  Murphy,  Ann  Christy, 

and  Jane  Laurel. 


58 


A 


When  Harry  Green, 
left,  was  in  vaude- 
deville,  he  didn't 
depend  on  exagger- 
ated feet  for  his 
comedy,  hut  the 
camera  decides  to 
show  them  up. 


Betrayed 

The    camera,    usually    oh,    so    kind    to    the    stars, 

festations  of 


Phillips  Holmes, 
right,  was  a 
student  at 
Princeton,  and 
that  is  certainly 
no  place  to 
learn  the  art  of 
heing  a  traffic 
I  "'1  iceman. 


59 


B)?  a  Friend 

suddenly  goes  on  a  rampage  with  these  startling  mani- 
temperament.  ^ 


\    \ 


"Hands  off  my 
private  life!" 
Gary  Cooper 
often  think 
the  camera  backs 
him  up  by  giving 
him  hands  that 
strike  fear  in  our 
heart. 


Zelma  O'Xeal, 
below,  most  ami- 
able of  girls, 
suddenly  branches 
out  with  the  ten- 
tacles of  an  oc- 
topus the  better 
to  hold  onto  her 
fame  as  the  orig- 
inator of  the  Var- 
sity Drag. 


Regis  Toomey,  above,  looks  down  on  no  one 

in  real  life,  yet  here  he  smiles  indulgently  on 
the  world  toiling  and   moiling  below  his 
scraper  height. 

And  just  look  at  the  camera's  spite 
Lillian  Roth.  left. 

How  can  Maurice  Chevalier,  below,  he  as  nim- 
ble as  he  is  with  feet  like  these?    Vet  the  cam- 
era's   prank    makes    us    wonder    how    he    ever 
places  one   font   before   the   other. 


60 


:• 


1 


IF  you  arc  a  girl,  and  have  two  or  three  names  until 
you  marry,  and  then  yon  have  one  more.  This  added 
name  changes  the  whole  combination,  giving  you  dif- 
ferent readings  before  marriage  and  after.  You  may 
change  from  sickness  to  health,  from  poverty  to  riches ; 
from  idealism  to  material  ambitions,  from  lack  of  inter- 
est to  activity,  from  selfish  imagination  to  generosity, 
and,  my  dear,  just  as  much  the  other  way  around.  I 
admit  that  it  must  seem  odd  that  the  characteristics  of 
the  bride  should  change,  while  those  of  the  bridegroom 
do  not,  but  think  a  moment  about  race  consciousness 
and  about  life  itself,  if  you  want  to  understand. 

No  modern  civilization  that  I  know  of,  except  the 
Spanish,  considers  any  married  woman's  maiden  name 
of  importance  to  either  herself  or  her  family,  although 
there  are  sections  of  the  world 
where  a  man  takes  on  part  of  the 
woman's  name.  Some  romantic 
lovers  even  offer  to  do  the  same 
thing  in  our  own  day  and  coun- 
try, and  actually  put  it  into  prac- 
tice. They  are,  however,  such  a 
great  exception  that  they  have  no 
effect  on  that  universal  conscious- 
ness of  how  a  married  woman  is 
to  be  labeled  and  identified.  We 
react  from  birth,  in  spite  of  our 
logic,  our  independence,  our  am- 
bition, to  what  our  world  has  ac- 
cepted, and  there  is  no  married 
woman  who  will  not,  if  all  other 
means  of  identification  fail,  de- 
scribe herself  as  the  wife  of  a  cer- 
tain man.  We  take  it  for  granted 
that  a  man  has  only  one  wife,  and 
even  if  he  is  a  bigamist,  there  is 
no'  chance  in  the  world  that  both 
his  wives  have  identical  names. 

"But,"  you  may  say,  "how  can 
I,  who  am  one  person,  alter  my 
nature  by  carrying  another's 
name,  even  if  that  name  does 
serve  as  a  convenient  label?" 

You  are  indeed  one  person, 
dear    Mary,    yourself    alone,    the 

Mary  who  was  born  twenty-two  years  ago  and  who  will 
die  at  eighty-nine.  No  human  being  knows  what  has 
gone  on  within  that  shell  of  yours  but  yourself.  And 
you,  dear  Charles,  are  another  person,  no  matter  how 
much  you  love  Mary,  seek  to  understand  her,  live  with 
her  as  her  devoted  husband  for  the  rest  of  her  life, 
and  know  a  thousand  little  secrets  of  her  thoughts  and 
moods  that  she  can  hardly  guess. 

Bui  human  beings  are  more  than  personality.  They 
are  able,  in  t lie  spirit,  to  transcend  it.  Your  real  self  is 
divine,  unborn,  undying,  and  yet  individual.  The  rate  of 
vibration  that  fuses  each  individual  into  the  infinite  is 
love.  Love  is  life,  and  life  is  one.  and  this  principle  of 
life,  manifest  in  all  creation,  is  separated  into  two  parts 


Hire  Master? 

In  this  fascinating  new  department  will  be  found 
examples  of  its  influence  on  the  lives  of 


By  U 


Please  Be  Patient! 

The  response  of  PICTURE 
PLAY  readers  to  Miss  Shenston's 
offer  to  solve  the  mystery  of  their 
name  by  the  science  of  numbers, 
has  exceeded  our  most  sanguine 
expectations.  It  has  demonstrated 
the  complete  success  of  this  service 
to  our  readers.  But  their  enthusi- 
asm has  all  but  overwhelmed  us. 
They  can  be  assured,  however,  that 
Miss  Shenston's  own  enthusiasm 
for  her  tremendous  task  is  unflag- 
ging, and  that  she  is  giving  to  each 
of  the  hundreds  of  thousands  of 
coupons  her  personal  attention. 
Therefore,  all  our  readers  who  have 
followed  the  simple  rules  in  filling 
out  the  coupon  and  inclosing  a  self- 
addressed,  stamped  envelope  will 
receive  either  a  reply  by  mail,  or 
see  a  reading  of  their  name  in  this 
department. 


onica 


that  everlastingly  attract  each  other,  because  each  one  is 
aware  of  its  own  incompleteness.  So  the  earth  is  mas- 
culine to  the  sun  that  draws  it,  and  feminine  to  the  re- 
volving moon  that  cannot  escape 
its  hold.  Nor  do  men  and  women 
escape  this  divine  pattern.  They 
are  the  willful,  conscious  incar- 
nation of  it.  While  their  minds, 
their  habits,  their  desires,  their 
bodies  belong  to  the  limitation  of 
personality,  the  infinite,  individ- 
ual spark  of  life  in  that  body  ex- 
presses according  to  the  form 
that  it  inhabits,  according  to  the 
principle  of  creation  that  is  dual 
— Two  that  are  nothing  except  as 
they  are  One. 

Again  you  ask,  "What  has  this 
principle  of  creation  to  do  with 
marriage,  and  with  my  name 
from  then  on  ?" 

Have  you  never  noticed,  dear 
Mary,  that  ever  since  you  have 
loved  Charles  and  are  married  to 
him,  you  are  not  only  one  in  ac- 
tivity and  aspirations  and  habits 
with  him,  but  you  are  personally 
more  completely  whole  and  your- 
self than  you  ever  were  before? 
Love  is  the  perfect  self-expres- 
sion. There  is  nothing  more  piti- 
ful than  lovers  seeking  to  escape 
each  other  that  they  may,  as  the}' 
put  it  in  their  ignorance,  more  fully  express  themselves. 
Either  their  love  is  mere  gratification,  or  they  have  no 
realization  of  the  true  nature  of  love,  in  spite  of  living 
in  it,  since  they  would  otherwise  seek  and  find  in  this 
infinite  channel  all  the  possibilities  of  expressing  them- 
selves as  persons,  more  than  they  had  ever  dreamed 
could  exist. 

But  why  should  a  woman  change  her  nature  more 
than  a  man?  Partly  because  of  her  femininity,  partly 
because  of  the  conditions  of  our  civilization.  Besides, 
she  doesn't,  always.  Now  and  then  a  man  is  known  as 
the  husband  of  Mrs.  Harris,  and  everybody  seems  to 
forget  that  he  made  her  Mrs.  Harris,  in  the  first  place. 
Continued  on  page  101 


01 


«• 


Of  ^four  Name 

an  explanation  of  the  science  of  numbers.     Besides 
stars,  the  names  of  readers  are  also  analyzed. 

Andrea   S!  enston 

What  Richard  Barthelmess'  Name  Tells 

YOU  have  one  distinction  and  also  one  burden,  dear 
Richard  Bsurthelmess,  that  of  being  an  old  soul, 
with  all  your  accumula- 
tion of  universal,  spiritual  un- 
derstanding within,  and  out- 
side the  inability  to  make  your- 
self understood.  You  are  a 
soul  that  insisted,  because  of 
previous  experience  and  wis- 
dom, that  you  were  fit  to  cope 
with  the  world  at  present,  so 
that  you  came  into  this  body 
some  fifty  years  ahead  of  your 
time.  Thus  you  are  really  far 
in  advance  of  your  surround- 
spiritually  speaking,  and 
find  this  a  handicap  in  the  bat- 
tle for  existence  now. 

All  this  is  indicated  in  the 
Number  One  of  your  birth 
path,  and  it  is  also  the  ex- 
tremely strong  vibration  that 
has  held  you,  in  love,  in  emo- 
tion, in  ambition,  in  every  non- 
material  aspect  of  life,  since 
you  were  twenty-one.  It  is  the 
highest  vibration  of  all,  in- 
tensely spiritual,  and  by  its 
very  nature  indifferent  to  the 
material  world.  This  has  its 
defects  as  well  as  its  compen- 
for  it  stands  to  reason 
that  the  man  who  liv 
preference  above  sordid  ma- 
terial facts  will  not  have  great 

success  among  them,  no  matter  how  seriously  he  applies 
himself.  The  real  spiritual  interest  and  punch  will  be 
lacking.  But  at  the  same  time,  there  is  in  every  one  of 
this  nature  a  deep,  underlying  contentment  that 
nothing  to  do  with  any  outward  satisfaction  or  trouble, 
the  ability  to  see  one's  self  as  part  of  universal  life,  and 
therefore  to  take  on<  I  troubles  lightly.     You  I 

all  this  to  an   unusual   d  and   you   know   only   too 

well  how  it  infuriates  friends  who  wish  to  help,  bill 
not  understand. 

The  total  digit  that  r   for  birth  and   nai 


You  have  great  possibilities,   Richard   Barthelmess, 

if  you   will   only   admit   them   and  not  be  afraid   of 

the  changes  they  are  bound   to  bring. 


gether,  Number  Two.  made  of  Eleven,  -bows  that  you 
are  very,  verj  imaginative,  sensitive,  and  easily  influ- 
enced, not  because  of  any  lack  of  judgment,  since  you 

have  a  wonderful  mentality,  but  simply  through  your 
emotions,  which  rise  and  fall  with  the  reception  you 
receive.  Since  your  birth  path  docs  indicate  that  you 
are  so  often  met  with  a  lack  of  comprehension,  you  are 
bound  to  live  in  depression  a  good  deal  of  the  time,  to 
Soar  in  spirits  during  the  intervals  when  your  imagina- 
tion takes  on  its  positive  aspect  of  creation  and  lifts  you 
to  the  certainty  of  coining  accomplishment,  or  the  thrill 
of  work  well  (lone. 

You    have    in    divinity,    your    spiritual    and    emotion;:! 
side,  Number  Five,  the  sign  of  a  fine  natural  executi 
ability,  with  real  intellectual  power,  and  inten 

justice,  and  a  wonderful  gift 
for  expressing  yourself.  This 
expression  is,  however,  of  the 
written,  not  the  spoken,  word, 
and  least  of  all  is  it  meant  to 
take  on  dramatic  form.  You 
are  a  poet,  not  an  actor.  I 
mean  it  seriously.  You  must 
have  composed  a  great  deal 
of  imaginative,  poetic  writing 
in  your  time,  whether  tech- 
nically poetry  or  not,  and  I 
am  sure  that  you  have  also 
destroyed  most  of  it.  in  fits  of 
disgust  with  yourself  for  not 
fighting  as  hard  as  you  thought 
you  should  in  the  field  you  had 
actually  chosen.  This  is  a 
great  pity,  for  yours  is  very 
delicate,  skillful,  imaginative 
writing,  appealing  to  the  spirit 
of  man.  not  to  the  cruder  emo- 
tions, and  there  is  always  a 
place  in  the  hearts  of  re 
for  such  work.  You  could 
even,  strange  to  say  in 
age.  earn  an  excellent  living 
by  it,  and  that  is  no  mean  dis- 
tinction, I  am  sure. 

There    is    indeed    real,    ma- 
terial, financial  success  in  your 
name,   for  in  the  material  you 
have   Number    Five,   which   in- 
dicates great  activity  and  great  accomplishment. 
will  not  be  able  to  enter  into  it.  just  the  same,  until  you 
Step  into  the  path  of  life  that   is  natural  to  you.      | 
positive  that  it  was  your  vision  of  the  artistic,  jma 
•'  motion  pictures  that  drew  you 
them,  together,  of  course,  with  the  financial  su< 
they  promised.     Hut  you  have  since  di 
difficult  experience,  that  these  possil 

re    in    theory,   do    i. 
satisfy  an  artist  and  dreamer  in  pi 

101 


62 


u 


w      m     m      i 


^ 


Y    T 


yj^y  \^y  v_/  v^- 


T       #     >1 

a         j  a  »      ■•'■*    ^i. 


■  •  i 


Reviewing  the  parade  of  events  and  listening  to  the  whispered  gossip  of  the  film  colony. 


SI  IARPEN  the  guillotine;  prepare  for  another  execu- 
tion! That's  a  fitting  description  of  what  is  going 
on  in  Hollywood  nowadays.  "Off  with  their  heads!" 
seems  to  he  a  favorite  slogan  of  the  producer.  And  who 
shall  say  whether  they  are  right  or  wrong  when  stars 
wax  temperamental,  or  appear  to  lose  interest  in  the 
talkies? 

There  has  been  no  end  of  breaks  in  contract  relations. 
One  of  the  biggest  causes  seems  to  he  the  large  salaries 
that  some  players  have  been  receiving.  Undoubtedly 
this  was  responsible  for  the  departure  of  Colleen  Moore 
and  Corinne  Griffith  from  First 
National.  It  seems  a  reason, 
too,  why  George  Bancroft  and 
Paramount  are  having  trouble 
over  money  matters. 

Norma  Shearer,  Vilma 
Banky,  Dolores  Costello  have 
quit  pictures  for  one  reason 
or  another,  though  not  money. 
Evelyn  Brent  and  Laura  La 
Plante  are  free-lancing.  We 
hear  that  Janet  Gaynor  may 
break  with  Fox  next  fall. 
Neil  Hamilton  is  leaving  Para- 
mount. 

Nobody  feels  very  steady  or 
secure,  and  one  of  the  big 
reasons  is  the  constant  influx 
of  stage  talent.  These  players 
are  willing  to  work  for  less 
than  their  screen  rivals,  in 
many  cases,  and  are  not  averse 
to  cutting  their  salaries,  if  they 
think  they  have  to  in  order  to 
obtain  a  good  role  in  a  picture. 

Vilma  Craves  Domesticity. 

Vilma  Banky  announces  her 
retirement  from  pictures.  She 
says  she  is  to  be  a  homebody. 
She  also  says  that  she  and  Rod 
La  Rocque  are  very  much  in 
love,  and  it  is  ridiculous  to 
think  that  they  are  having 
marital  difficulties. 

Vilma  is  unquestionably  still  one  of  the  beauties  of 
the  screen  but  the  little  matter  of  accent  has  impeded 
her  career  in  vocal  pictures.  She  fought  hard  to  over- 
come her  accent,  but  was  only  partially  successful. 

Fortunately,  she  didn't  suffer  any  particular  financial 
loss  because  of  her  inactivity  during  the  past  year. 
Vilma  was  under  contract  to  Samuel  Goldwyn  from  the 
time  she  starred  in  "This  Is  Heaven,"  until  just  re- 
cently. She  was  paid  $4,000  weekly,  we  hear,  for  four- 
teen months.  During  that  time  her  only  film  was  "A 
Lady  To  Love."  done  in  English  and  German.  It  is  said 
Goldwyn  received  $100,000  for  her  services  in  this  pic- 
ture. At  this  rate,  he  was  out  more  than  $100,000  on 
the  Banky  contract. 


Photo  by  Fryer 

Question:    What  relation  is  Jack  Whiting  to  Joan 
Crawford,  if  he's  the  stepfather  of  Douglas  Fair- 
banks,  Jr.?      You'll   see   him   in   "Top   Speed." 


The  Eye-filling  Claudette. 
The  lovely  Claudette  Colbert  aboard  a  freighter !   And 
not  for  a  picture — but  for  her  own  pleasure ! 

Miss  Colbert  craves  adventure,  and  so,  on  leaving 
Hollywood,  she  set  sail  for  the  South  Seas  with  her 
husband  and  a  party  of  friends.  She  is,  as  you  perhaps 
know,  married  to  Norman  Foster,  who  played  opposite 
her  in  "Young  Man  of  Manhattan." 

Claudette  came  West  to  do  "Manslaughter,"  and  pro- 
fessed the  day  we  met  her  to  be  very  much  depressed  by 
the  prison  scenes  in  the  picture.     It  was  the  first  time 

that  we  had  ever  seen  her  in 
gingham — the  garb  she  wore 
as  a  penitentiary  inmate.  All 
her  other  roles  have  been 
dress-up  ones,  even  to  a  fair 
part  of  "Young  Man  of  Man- 
hattan." 

This  star  is  very  accom- 
plished and  lovely,  and  her 
conversation  reflects  a  spon- 
taneous brightness.  Every- 
body at  the  studio  was  cap- 
tivated by  her  but,  strangely 
enough,  they  raved  even  more 
about  the  charm  and  beauty 
of  her  mother,  whom  it  was 
not  our  pleasure  to  meet. 

Miss  Colbert  will  be  away 
four  months  on  her  trip,  but 
one  or  two  of  her  pictures 
will  be  released  during  her 
absence. 


Marlene  Is  Feted. 

The  arrival  of  Marlene 
Dietrich,  new  German  dis- 
covery, was  signalized  with 
the  usual  pomp,  and  also  a 
mild  disturbance  evoked  by 
Director  Josef  von  Stern- 
berg, her  discoverer. 

Yon  Sternberg,  at  a  lunch- 
eon given  largely  for  women 
newspaper  and  magazine 


writers,  remarked  in  a  speech 
that  Miss  Dietrich  had  a  quality  rare  in  feminine  kind, 
namely,  brains.  The  statement  caused  a  number  of  glar- 
ing looks  to  be  flashed,  besides  a  few  audible  comments. 
.  Nevertheless,  Miss  Dietrich  was  successfully  intro- 
duced, after  the  manner  followed  since  the  days  of  Pola 
Negri  for  arriving  foreign  celebrities.  She  appeared 
overwhelmed  by  all  the  fuss  and  attention,  but  looked 
blondly  and  statuesquely  attractive,  as  she  underwent  the 
inspection  of  those  who  were  to  tell  the  world  about  her. 

Guggenheim    Revealings. 
Guggenheim,  the  intellectual  game  of  the  movie  world, 
brings  out  some  strange  misconceptions  of  the  English 
language.    While  playing  it  one  is  required  to  list  words 


Hollywood    High    Lights 


63 


under  certain  headings,  like  "books,"  "ri\ 

"cities,"  "famous  painter-.''  et  cetera. 

Diseases  were  up  [or  a  listing  at  one  time. 
and  all  those  enumerated  under  the  heading 
were  supposed  to  begin  with  the  letter  o. 

"All  right,"  said  a  producer  who  was  play- 
ing, "the  first  disease  that  I  have  listed  is  auto- 
intoxication." 

"What!"  exclaimed  his  belligerent  group  of 
adversaries.     "Auto-intoxication  with  an  o?" 

"Yes,"  replied  the  producer.    "Auto-inl 
cation,  spelled  o-t-t-o-intoxication." 

Whereupon  all  dived  into  the  swimming  pool 
in  a  wild  etTort  to  smother  their  laughter. 

Time  Out  for  Play. 
And  now  hlmdoin  is  taking  up  the  old  pas- 
time oi  anagrams.     We  found  a  game  going 

with  gusto  <>n  the  set  of  Harold  Lloyd's  "Feel 

First."  It  is  played  with  cards  on  each  of 
which  is  some  letter  of  the  alphabet.  Out  of 
these  the  player  forms  words,  or  steals  the 
words  belonging  to  his  opponents  if  he  can 
make  a  new  word  out  of  those  his  opponents 
have  already  put  together. 

Harold  himself  is  particularly   fond  of  this 
game.     He  asserts  that  it  keeps  the  mini 
his  gag  men  stimulated.     So  there's  alwa\  -  a 
certain  method  in  the  madness  of  indulging  in 
•  of  wits  between  scenes 

Billie's  New  Romance. 

Billie  Dove  is  acting  hostess  for  Howard 
Hughes,  producer  of  "Hell's  Angels."  which 
means  that  we  may  as  well  announce  their  en- 
gagement. We  learned  of  this  when  Billie  in- 
vited us  to  a  party  given  for  the  premiere  of 
the  air  feature  that  was  so  long  in  pro- 
duction. When  Billie's  divorce  from 
Irvin  Willat  becomes  final,  she  prob- 
ably will  marry  Hughes.  We  know 
that  she  has  a  very  high  admiration  for 
him.     It  is  very  apparent. 

The  story  of  Hughes'  exploits 
in  the  films,  and  especially  of  his 
adventures  with  "Hell's  Angels." 
could  never  be  told  in  this  col- 
umn, because  it  is  a  long  one. 
The  picture  has  cost  approxi- 
mately $3,500,000,  according  to 
the  producer,  which  surpasses  in 
anything  made  before,  in- 
cluding "Ben-lb  is  known, 
Hughes  has  wealth  aside  from 
the  movies.  His  big  financial 
power  is  derived  from  an  oil  well 
supply  business  in  Texas.  Mov- 
ies are  his  main  interest  now. 

It  is  understood  that  he  may 
star  Billie  Dove  later  on. 

Colleen  Assumes  Palette. 
While  you  may  not  see  Colleen 
Moore  on   the   screen,   she 
idle  by  any  means.   The 
divorce  from  John  Mc- 

How'd  you  like  this  for 
a  mantel  ornament?  It's 
the  gold  statuette  be- 
stowed by  the  Academy 
of  Motion  Picture  Arts 
and  Sciences. 


Hurrall 

Here's  Barbara  Leonard,  the  linguistic  marvel  of  Hollywood.     She 
speaks  French,  Italian,   Spanish,   German,  and  English,  and  doesn't 

show  the  strain. 

Cormick  is  a  very  trying  event  in  her  life,  of  course,  hut  she 
is  finding  many  ways  to  keep  herself  busy,  while  not  working 
in  the  studios. 

For  one  thing,  she  is  going  to  an  art  clas>  three  times 
a  week.  She  has  long  done  clay  modeling,  hut  drawing  is 
something  new  for  her.  She  wants  to  perfect  herself  in  it 
so  that  she  may  do  her  mock-ling  more  effectively. 

Colleen  told  us  that  she  had  a  funny  experience  when 
she  went  to  the  school.  She  expected  naturally  that  there 
would  be  some  craning  of  necks  when  she  arrived  in  the 
classroom,  hut  to  her  surprise  nobody  paid  the  least  atten- 
tion to  her.  "Literally  they  gave  me  the  air,"  she  told  us. 
"I  learned  afterward,  though,  that  the  teacher  had  lectured 
the  students  severely  before  my  arrival,  and  instructed 
them  that  just  because  I  was  a  movie  star  I  wasn't  to  be 
embarrassed  with  their  attention,  and  treated  as  a  cur 
— that  I  was  coming  there  to  study,  et  cetera. 

"I  did  think,  though,  that  they  laid  it  on  a  bit  thick  the 
first  day  or  two.  I  (nought  there  was  something  the  matter 
with  me." 

Cooper  in  "The  Spoilers." 
Gai  r  will  do  the  big  fight  in  "The  Spoiler-."     lie 

the  place  of  Bancroft,  who  was  originally  to 

do  this  picture.      The  cast   now   includi      I       per,   William 
Boyd,  from  t!  tty  Compson  as  Chei 

Malnttr.  and  Kay  John  ine. 

ber  the  obi  cast,  William    Farnum.  Tom 
:.  Kathlyn  Williams,  and   1'.'  ton? 

Bancroft  has  been  off  salary  for  a  I 
mount.     !!•  '.  and  then   followed  a  period  of 

hi-  European  vacation, 
it    is   said,   thai  ntract 


64 


Hollywood  Higk  Lights 


exercised,  which  would  prevent  his  receiving  pay  during 
his  absence. 

Ms.,  during  this  period  Cooper  was  assigned  to  "The 
Spoilers."  And  there  may  be  more  trouble  than  actually 
appears  on  the  surface. 

Sweet  Roles  Cloy. 

Janet  Gaynor  is  weary  of  sweet  roles.  She  wants  to 
do  something  dramatic  for  a  change.  What  she  really. 
had  hoped  to  play  was  the  lead  in  "Common  Gay,"  but 
as  the  woman  in  that  picture  becomes  a  mother  without 
a  marriage  ceremony,  it  wasn't  considered  an  advisable 
undertaking  for  pretty  little  Janet. 

The  facts  are  that  this  star,  who  achieved  such  bril- 
liant success  in  "Seventh  Heaven,"  is  having  no  easy 
time  discovering  just  what  she  can  do  best  in  talking 
pictures.  And  maybe — who  knows? — it  has  made  her  a 
bit  temperamental.  She  has  been  in  one  of  the  hits  of 
the  year,  though,  in  "Sunny  Side  Up." 

Ex-husband  Restaurateur. 

Well — how  the  ex-husbands  of  stars  manage  to  bob 
up  prominently! 

Herbert  Somborn,  to  whom  Gloria  Swanson  was  mar- 
ried at  one  time,  now  operates  one  of  the  spifBest  res- 
taurants on  Wilshire  Boulevard.  And  to  prove  that  it 
is  really  spiffy  it  has  the  name  "High  Hat." 

Eddie    May    Be    Doctor. 

If  you  don't  happen  to  know  it,  Eddie  Lowe  is  really 
well  educated.  He  received  a  master  of  arts  degree 
from  a  Western  college,  and  now  he  has  the  opportunity 
to  become  a  doctor  of  philosophy. 

Those   high-stepping   Sisters    G   deny   that   their   name    is 
gefiielterhsch.      It's    Gutohrlein.      Is   nothing   private   any 

more? 

Photo  by    Arrhet 


^ 


Eddie  says  that  he  has  to  write  a  treatise  on  something 
or  other  to  acquire  the  honor,  and  that  it  can't  be  acting. 
He  hinted  that  it  might  he  "Roman  Law,"  and  we  de- 
termined to  return  home  and  swallow,  the  first  ten  vol- 
umes of  our  encyclopedia.  Hollywood  is  getting  just  too 
erudite  to  be  lived  with  now,  and  we  might  as  well 
choke  on  the  encyclopedia  as  anything. 

This   Colorful   Tendency. 

The  following  remark  was  heard  on  the  Boulevard 
from  one  Eddie  Buzzell,  who  occasionally  appears  in 
pictures : 

"Yes,  I  made  a  film  in  Technicolor ;  we  started  in 
black  and  white,  and  ended  in  red." 

An  Insulter's   Perils. 

Life  for  an  "insulter"  is  full  of  perils  these  days.  The 
mere  matter  of  arranging  to  have  people  called  down  for 
their  table  manners  by  an  obnoxious  waiter,  the  profes- 
sional "insulter,"  of  course,  doesn't  satisfy  the  wags  of 
moviedom  any  more.  They  must  have  something  nearer 
a  gladiatorial  combat  resulting  from  the  insult. 

So  not  long  ago  they  sicked  the  insulter  on  a  six-foot, 
two-hundred-pound  he-man  star,  known  for  his  temper 
and  the  strength  of  his  fists.  They  hired  the  profes- 
sional offense  giver  to  call  this  man  "a  sissy,"  and  it  is 
on  record  that  it  took  five  people  to  restrain  the  star 
from  beating  up  the  "big  bohunk  who  made  the  nasty 
remark"  about  him. 

A   Snappy   Rechristening. 

The  funny  ways  in  which  film  companies  evade  the 
ban  on  certain  books  and  plays  is  illustrated  in  the  pur- 
chase   by    Universal    of    "The    Command    To    Love," 
which  has  been  retitled  "The  Boudoir  Diplomat." 

Under  the  rules  of  the  Hays  office,  no  reference  is 
to  be  made  to  the  original  in  an  instance  where  the  title 
of  a  story  or  play  is  changed  on  moral  grounds.  It  is 
only  permitted,  therefore,  to  mention  "The  Command 
To  Love"  as  "The  Boudoir  Diplomat"  in  any  studio 
publicity  that  goes  out. 

We  noted  in  some  press  copy  broadcast  on  this  pic- 
ture that  it  was  stated  that  Mary  Nash  and  Basil  Rath- 
bone  appeared  in  the  stage  version  of  "The  Boudoir 
Diplomat."  Yet  in  the  annals  of  the  footlights  you 
would  never  find  a  play  of  that  name  mentioned. 

And  we  ask  you,  too,  which  is  the  more  spicy  title, 
"The  Command  To  Love,"  or  "The  Boudoir  Diplomat"  ? 

Schildkrauts   Separated. 

No,  they  won't  be  reconciled  this  time.  Joseph 
Schildkraut  and  his  wife  are  at  the  parting  of  the  ways. 
They  were  there  once  before,  about  five  years  ago, 
but  the  troubles  were  patched  up. 

But  this  time  Mrs.  Schildkraut,  known  on  the  stage 
as  Elise  Bartlett,  has  filed  suit  for  divorce.  She  de- 
clared that  among  other  things  he  had  called  her  a 
"frivolous  little  fool,"  a  "rotten  actress,"  and  an  "ig- 
noramus." Too  much  for  any  lady  to  bear,  surelv, 
especially  the  reflection  on  her  art. 

Miss  Bartlett  lately  has  concentrated  her  talents  in 
the  Civic  Repertory  Theater,  and  only  occasionally 
makes  an  appearance  in  the  films.  The  split-up  oc- 
curred after  she  became  interested  in  theatrical  work, 
and  it  must  be  said  in  Schildkraut's  favor  that  she  did 
give  a  pretty  bad  performance  in  "A  Bill  of  Divorce- 
ment."    Maybe  this  was  what  started  it  all. 

We  noted,  though,  on  another  evening  after  the  pro- 
duction above  mentioned,  and  after  the  marital  troubles 
had  been  rumored,  that  Schildkraut  congratulated  his 
wife  on  a  play  she  had  produced,  and  kissed  her 
linger  tips. 


Hollywood    High    Lights 

The  Classical  Yearning. 

John  Barrymore  again  has  the  yen  to  do  "Hamlet."  It  comes 
over  him  periodically — more  often,  perhaps,  since  there  are 
talking  pictui 

And  we  hear  from  a  reliable  source  that  this  time  Warner 
thers  have  just  about  consented.     They  may  yet  star  Bar- 
rymore as   the    Melancholy    Dane.       There    is   a    strong    ] 
bility,  too.   that    1  olio  may   return   to  the   screen   in 

the  role  oi   I 

We  hope  "Hamlet"  proves  more  Shakespearean  than  "The 
Taming  of  the  Shrew." 

Choosing  a  Violinist. 
High-brow  inclinations  are  displayed  elsewhere.  We  learn, 
for  example,  that  "Humoresque"  is  being  seriously  consid- 
ered as  a  subject  for  synchronization,  with  Yeluuli  Menuhin 
or  Jascha  Heifetz.  Why  they  are  mentioned  in  the  same 
th  is  rather  a  mystery,  if  one  considers  the  discrepancy 
in  their  ages.  Hut  then,  Heifetz  does  manage  to  remain  the 
eternal  juvenile.  And.  too.  a  violinist  is,  after  all,  only  a  violin- 
ist— in  the  menu  -. 

More  Money  for  Lois. 

Lois  Moran  is  an  heiress.  She  is  St>8.005  richer  than  she  was 
a  few  months  ago.  Rather  nice  when  she  is  receiving  a  good 
salary  in  the  movies,  too. 

The  inheritance  came  to  Lois  from  her  aunt  who  died  in 
1919.  The  fund  was  held  in  trust  until  she  was  twenty-one 
years  of  age.     She  celebrated  her  birthday  a  few  weeks  ago. 

A  Doggy  Afternoon. 

Even  dogs  must  have  their  parties  in  Hollywood. 
Th<.    stars  the  barkies   played   host   recently   at   the 

Metro-Goldwyn  studio.  And  the  affair  was  more  than 
recherche. 

The  dogs  performed  tricks,  yowled  and  yipped  for 
the  entertainment  of  everybody,  and  otherwise  displaved 
their  best  social  manners.  A  number  of  visiting  dogs 
were  guests,  as  well  as  the  people  who  chaperoned  them. 
and  not  even  a  -  a  of  a  fight  occurred  during  the 

reception  in  their  honor. 

After  seeing  their  highly  socialized  demeanor  at  this 
party,  we  are  convinced  that  dogs  can  become  as  cul- 
tivated and  as  diplomatic  as  can  any  other  stars. 


Harry  E.irles, 
wlio  w.r.  .1  big  hit 
in  the  silent  "Un- 
holy      T  hi  i 

playi  his  <>iii  i 
m   Lob  Ch.u 

talkie  version. 


Cosmopolitan  Invaders. 

A  curious  world  is  being  created  in  Hollywood  because 
of  the  foreign  pictures.  There  are  many  people  now- 
coming  from  Europe  to  appear  in  the  German,  French, 
and  Spanish  versions.  Most  of  them  will  never  be  seen 
on  the  American  screen.  They  may  be  famous  in  their 
own  lands,  because  of  the  pictures  that  they  star  in  at 
the  studios  on  the  Coast,  and  yet  they  will  probably 
remain  unknown  in  the  colony. 

W'e  have  noticed  that  there  are  an  increasing  number 
,roups  of  talented  foreigners.  W'e  were  at  a  Span- 
evening  recently  given  in  an  old  rehearsal  room  in 
one  of  the  half-forgotten  theaters  of  Los  Angeles.  A 
remarkable  guitar  player  performed,  and  produced  vari- 
ety of  tones  comparable  to  those  of  a  violin  or  cello. 
Another  remarkable  quintet  from  Yucatan.  Mexico, 
presented  a  program.  A  noted  Mexican  actre*-.  Maria 
Conesa.  was  present. 

The  brightest  personality  that   we  noted,   or  at   leasl 
the  most  beautiful,   was   Renee     Torres,   the    sister 
Raquel. 

Pauline's    Bridegroom. 

Pauline  Frederick's  new  husband 
looking.      Pauline  has  been   married   only  a   *hort   time, 
and   i<  honeymooning  in   California.      Her  : 
wealthy.     He  owns  some  hotels,  and  r  mpany. 


W'e  had  a  fairly  close  view  of  them  at  the  opening 
of  "The  Criminal  Code"  on  the  stage.  They  were 
attentive  onlookers  at  this  remarkable  prison  drama  by 
Martin  Flavin. 

Pauline  was  attired  in  black.  She  nearly  always  is, 
and  the  color  seems  to  blend  ideally  with  her  person- 
ality. Mr.  Leighten  and  she  seemed  to  find  much  to 
discuss  between  the  acts,  and  attracted  the  gaze  of  every- 
body in  their  immediate  vicinity. 

The  marriage  is  Pauline's  fourth.  She  was  divorced 
from  her  prior  husband.  Doctor  Charles  A.  Rutherford, 
in  Paris,  in  1928.  She  was  previously  married  to  Frank 
Andrews,  architect,  and  W'illard  Mack,  playwright. 

As  to  her  career — it  seems  to  center  in  the  theater. 
She  is  looking  for  a  new  play  to  star  in  on  the  Coast, 
where  her  stage  appearances  always  draw  large  audi- 
ences. 

The  talkies  may  claim  her  from  time  to  time,  but  die 
is  not  under  any  regular  contract.  She  hasn't  seemed 
at  her  best  in  the  voice  films. 

Bert    and    Bride. 

Pert  Lytell  is  another  stage  devotee.  And  that's  not 
surprising,  since  he  has  been  doing  one  play  quite 

; fully  for  two  seasons,  and  ha--  won  a  bride  besides. 

Bert   brought   his  play   and   his   wife,   (irate    Menken, 
Hollywood,   and    received    the   compliments   of    bis 
friends  for  his  good  judgment  in  both  selections. 

"Brothers"  isn't  the  most  remarkable  ] 
writing  in   the  world,   but    it    gives    Bert   a  chance   to  do 
clever  things  in  playing  a  double  role,     lb-  chanj 
tume    and    character    in    lightning    fashion,    disappearing 
from  ti  in  one  role,  and  reappearing  a   : 

onds  later  in  the  other. 

Miss  Menken  delighted  Bert's  friends  with  her  in- 
tell:  i>   rate.'  ttile,  and   gifted 

with    busim  n    and    • 

100 


63 

'  Synopsis  of  Previous  Installments. 

MONICA  MAYO,  a  contest  winner,  goes  to  Hollywood,  hop- 
ing to  break  into  movies,  and  is  snubbed  by  Joy  Laurel,  a 
school  acquaintance.  She  makes  all  the  blunders  of  a  newcomer, 
bul  falls  in  with  Bunny  and  Danny,  and  she  gets  a  hold  in  pic- 
tures. A  break  gives  her  a  featured  part.  In  love  with  Danny, 
her  rising  career  comes  between  them,  and  with  a  near  heart- 
break, her  work,  and  the  demands  of  the  publicity  bureau,  Monica 
finds  success  more  hitter  than  sweet.  Danny,  jealous  of  her  lead- 
ing man  and  her  success,  is  running  away,  when  she  drops  Booth 
Carlisle  and  leaps  into  Danny's  car  to  explain  matters.  He  only 
stares  ahead  at  the  road. 

TART   VI. 

ANYTHING   CAN    HAPPEN    IX    HOLLYWOOD. 

IT  takes  two  to  make  a  quarrel,  and  Monica  was  de- 
termined not  to  be  one  of  them  in  this  case.  Danny 
was  back !  Even  though  he  was  furious  at  her,  he 
was  beside  her  again.  But  they  were  halfway  to  Holly- 
wood before  she  finally  won  him  over.  She  explained, 
tearfully,  just  how  it  happened  that  she  hadn't  been  able 
to  keep  her  engagement  with  him,  before  he  went  away, 
and  lie  admitted  that  when  he  reported  for  work  that 
morning  and  found  that  he  was  to  play  extra  in  her 
picture,  it  was  too  much  for  him. 

"Oh,  Danny,  surely  my  getting  ahead  isn't  going  to 
come  between  us,  is  it?"  she  cried.  "Why,  I'm  just  an 
accident — like  a  lot  of  the  stars,  apparently !  I  thought 
I'd  have  to  act,  but  I  don't — at  least  it  doesn't  seem  like 
acting.  Success  has  just  happened  to  me,  and  it  will 
happen  to  you,  too — see  if  it  doesn't!" 
His  jaw  set  stubbornly. 

"I'll  never  marry  you  until  it  does,"  he  exclaimed. 
"Well,  I'll  just  have  to  wait,  then,"  she  answered,  and 
then,  eager  to  change  this  rather  dangerous  subject,  she 
snuggled  up  beside  him  and  laid  her  head  on  his  shoulder. 
"We  might  have  something  to  eat,"  she  suggested. 
"I'm  famished.  Let's  stop  at  that  chicken  place  just 
ahead — they  have  a  good  dinner  for  a  dollar  and  a  half." 

"Sorry,  but  I  haven't  money  enough  to  pay  for 
it,"  he  answered.  "That  check  I  got  for  to-day's 
work  went  to  a  fellow  I  borrowed  from  before  I 
went  on  location." 

For  an  instant  Monica  was  on  the  verge  of 
offering  to  pay  for  the  meal.  She  stopped  just 
in  time. 

"Well,  we  can  get  sandwiches  at  that  barbecue 
place — they're  marvelous,"  she  added  hurriedly.    "I  don't 
care  what  I  eat,  so  long  as  I  am  with  you." 

She  discovered  during  the  next  few  days  that  similar 
difficulties  were  going  to  arise  constantly.  Danny  was 
painfully  sensitive  on  the  subject  of  money.  He 
wouldn't  even  come  to  dinner  at  the  hotel  suite  into 
which  the  studio  had  insisted  on  her  moving.  She 
longed  for  the  good  old  days  when  she  and  Bunny  had 
lived  in  the  ramshackle  house  in  Laurel  Canyon,  and 
Danny  brought  half  the  provisions  when  he  came  to 
meals. 

Every  day  it  became  increasingly  difficult  even  to  see 
him.  She  was  the  victim  of  her  own  success.  Exhibi- 
tors throughout  the  country  had  liked  her  work  in  her 
first  picture,  and  the  New  York  reviewers  had  picked 
her  out  for  special  notice.  The  company  recognized  that 
she  was  a  find,  and  it  was  decided  that  she  was  to  be 
groomed  for  stardom,  since  the  stellar  material  on  hand 
was  in  anything  but  promising  condition. 

One  star  who  had  achieved  world-wide  fame  in  silent 
pictures  was  a  dud,  so  far  as  talkies  were  concerned  ; 
another  had  married  and  insisted  on  retiring  from  the 
screen.  A  third  had  jumped  to  another  company  when 
her  contract  expired.  One  young  leading  woman  was  so 
temperamental  that  electricians  threatened  to  drop  a  light 
en  her.  and  another  had  become  so  involved  in  a  scandal 


Hire  MoVie 

Things    happen   swiftly   in   the    conclusion   of   our 

hopelessly 


By  I 


nez 


that  the  Hays  office  frowned  upon  her.  Everything  was 
set  for  Monica,  and  she  could  not  escape  the. steam  roller 
that  was  bearing  down  upon  her. 

She  was  sent  to  San  Francisco  to  open  a  theater  where 
her  second  picture  was  to  be  shown.     She  went  reluc- 


tantly, because  Danny  was  considered  for  a  better  part 
than  any  he  had  had  before,  and  she  did  not  like  to  be 
away  when  his  tests  were  made.  If  only  he  got  that 
role,  perhaps  he  would  change  his  mind  about  not  mar- 
rying her  until  his  salary  equaled  hers.  _ 

But  she  went,  of  course,  accompanied  by  Bunny,  a 
maid,  and  a  trunk  full  of  new  clothes.  She  telegraphed 
Danny  three  times  on  the  way.  but  when  she  arrived  she 
could  not  help  feeling  that  thousands  of  miles,  separated 
them.  The  fact  that  Booth  Carlisle  met  her  in  San 
Francisco  made  matters  no  easier. 

She  had  not  realized  that  she  really  was  a  personage. 
When  the  crowds  in  front  of  the  theater  hailed  her  by 
name  as  she  arrived,  she  was  genuinely  astonished.  She 
found  that  she  was  to  share  the  honors  of  the  occasion 
with  the  chief  of  police,  a  famous  actor  who  was  master 
of  ceremonies,  and  the  newsboys'  band.  Also,  she  was 
to  talk  over  the  radio. 


serial,   as    things    will    when    career    and    love    are 
mixed. 

Sabastian 

Illustrated     b  v     t&HCtdttt     St  tin 


In  the  fireplace  smoldered  a 
heap  of  photographs  of  her. 
"Oh,  Danny,  darling,  why 
didn't  you  wait?"  exclaimed 
Monica. 


She  had  heard  famous  stars  on  the  air,  and  had  criti- 
cized them  unmercifully  for  speaking  when,  obviously, 
they  had  nothing  to  say.  Now  she  found  herself  in 
front  of  the  microphone  with  four  closely  typewritten 
pages  that  the  theater  press  agent  had  thrust  into  her 
hand.     Panic-stricken,  she  glanced  at  them. 

She  found  that  she  was  supposed  to  confide  to  the 
radio  audience  that  Mr.  Gallipolis,  the  owner  of  the 
theater,  whom  she  had  never  laid  eyes  on  until  ten  min- 
was  one  of  her  closest  friend- :  that  she  had 
always  looked  upon  him  as  the  little  Napoleon  of  the 
theater  business,  the  Belasco  and  Morris  Gest  of  the 
movies,  a  real  leader  of  men,  combining  the  best  features 
of  George  Washington  and  Abraham  Lincoln. 

She  tore  up  the  speech  and  turned  f  rom  the  microphone. 

"Go  on — everybody's  waiting  !  a  dapper  young 

man  who  had  taken  her  in  charge.    Then,  in 
he  went  on.  addressing  the  microphone,  "Folks,  Monica's 
just  scared  to  death.     Come  on.  eak  up." 

Monica  glared  at  him.  What  if  Danny  were  listening 
in?  And  all  the  people  she  knew  in  Hollywood?  And 
the  ones  back  home — they  might  pick  it  up.  to*;!  Well, 
she'd  have  to  sav  something,  and  get  thi-  ith. 


She  clutched  the  huge  bouquet  that  had  been  given 

her,  cleared  her  throat,  and  began  to  talk,  hard!}    know- 
ing what  she  was  saj  ing. 
"Good  evening,  everybody."     Her  voice  sounded  too 

■harinc     for    words.       "I'm    SO    happy    to    have    this 

rhance  to  speak  to  you.      1   only  wish   1   could   talk  witli 

each  oi  yon  personally.     Everything  i>  so  beautiful  in 

this  gorgeous  new  theater— and- — " 

She  could  just  see  people  the  country  over  leaping  to 

their  radios  to  turn  her  off.  Well,  they  couldn't  feel 
any  worse  than  she  did  about  this  speech! 

"And  1  just  want  to  say  that — that — I'm  happy  to  be 
here,  and  that's— all !" 

She  collapsed  into  the  nearest  chair,  thoroughly  dis- 
gusted. She  would  never  do  this  again,  it  she  had  to 
leave  pictures  to  get  out  of  it! 

The  owner  oi  the  theater  came  up,  beaming,  with  a 
crowd  of  people  at  his  heels.  Monica  turned  on  him 
furiously. 

"What's  the  idea  of  springing  this  on  me  without 
letting  me  know  about  it  beforehand,  so  that  I  could 
prepare  something  to  say?"  she  demanded. 

"Why — why "  he  stammered.     Some  one  behind 

him  laughed.  Monica  heard  a  voice  saying,  "Tempera- 
mental, isn't  she?  Just  let  these  dumb-bells  make  one 
success  and  they  all  get  the  swell  head." 

She  could  have  wept  with  rage.  Just  then  an  usher 
edged  his  way  toward  her,  and  presented  a  note.  Monica 
read  it  in  one  swift  glance. 

"Do   you    remember    your    little    friend    Angie    B 
from  'way  back  home  in  the  Fourth  Street  school?     Even 
though  you're  rich  and  famous,  do  squeeze  out  a  minute 
for  your  old  chum." 

Monica  couldn't  remember  any  Angie  Bush.  She 
didn't  want  to.  even  if  she  could.  Her  head  was  split- 
ting, her  slippers  were  too  tight,  she  wanted  only  to  get 
back  to  the  hotel  and  try  to  get  Danny  on  the  longdis- 
tance phone.  But  she  made  herself  smile,  when  Angie 
was  towed  through  the  mob.  and  submit  to  being  ki- 

"And  how  do  you  happen  to  be  "way  out  hen?"  she 
asked  cordially. 

"Oh,  I'm  married!"  announced  Angie,  with  a  superior 
air.  "I'm  on  my  honeymoon!  Tom  and  I  drove  all  the 
way!  Didn't  have  a  bit  of  trouble,  except  once  we  got 
a  puncture  in  Albuquerque — no.  it  wasn't  at  Albu- 
querque, it  was  just  outside  Las  Vegas.  ,\nd  we  haven't 
quarreled  once.  Tom  says  a  marriage  isn't  really  ! 
until  you've  had  one  good  scrap,  but  I  imcss  he's  only 
joking.  I  don't  intend  to  fight  with  him  ever.  Anyway, 
we  had  a  wonderful  trip.  And  I  have  the  grandest  hus- 
band— you  must  meet  him.  Can't  you  come  with  us 
after  the  show,  and  we'll  have  some  ice  cream  or  some- 
thing. There's  a  lovely  place  just  down  the  street  :  we 
saw  it  when  we  were  coming  hire." 

Monica  wanted  to  shriek  "No!"  People  were  clutch- 
ing at  her  arm  and  trying  to  talk  to  her;  Mr.  Gallipolis 
was  making  frantic  signals  from  the  background.  Some- 
how she  managed  to  control  herself,  and  retain  the  smile 
that  felt  a-  if  it  had  frozen  on  her  lip-. 

"I'm  afraid  I  can't.  I  have  an  engagement  I  can't 
break,"  she  told  the  bride.  To  herself  -he  was  saving, 
"And  they  sav  actors  talk  about  themselves  all  the  til 

"But    f  wanted   to  1  oil    visit   with   you,"   pro- 

•1  from  back  hoi 
■  ant  to.  too.     If  you  con 
must  be  -nre  to  look  me  up."  Monica  exclaimed,  and  I 
paused,   suddenly  wondering  why  • 

familiar.     Oh.  of  cour-  irel  had  Ctly 

that  to  her.  and  -he,  poor  idiot,  had  t 

legram    for  you,    M 
Monica  clul  nny  musl  off 


68 


The  Up  And  Doxtf  n 


It's  most  effectively  given  through  glasses. 


The   little   girl    who    reads   a   great 

deal     wears     goggles     like     Lillian 

Roth's,   above,   and  you   don't  often 

see   them    in   Hollywood — well? 


Helen  Kane,  below,  has  the  grand- 
daddy  of  all  lorgnettes  through 
which   her   baby   stare   is   magnified. 


Ladies  of  fashion,  at 
least  those  who  strutted 
in  the  ornate  mansions 
of  the  old  screen,  used 
to  be  so  very  kittenish 
when  they  wore  glasses 
like  those  held  by  Fay 
Wray,  above. 


Juan  Peers,  right,  dis- 
covers grandma's  steel- 
rimmed  specs  and  finds 
that  she  can't  see 
through  them.  Didn't 
grandma  wear  them  on 
the  end  of  her  nose  for 
the  same  reason? 


The  very  last  word  in  glassware 
for  the  eye  is  the  monocle,  with 
which  Jean  Arthur,  above,  dallies 
but  discards,  because  she  has  seen 
a  struggling  model  in  Greenwich 
Village   affect   one. 


69 


UlnlB 


A  Confidential  Guide  To  Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 
"Paramount  on  Parade" — Paramount. 
Technicolor  sequence.  B<  si  of  revues, 
with  intimate  entertainment  before  - 
tacle.  although  latter  is  not  neglected. 
Genial,  glittering  show  includes  many 
stars,  with  Maurice  Chevalier,  Evelyn 
Brent,  Harry  Green.  Kay  Francis, 
Nam  C  11.  Helen  Kane  probably 
heading  ! 

"Honey" — Paramount.  Diverting  mu- 
sical piece,  with  agreeable  plot,  but  no 
danger  of  brain  fag.  Southern  family 
rents  house  to  Northern  woman,  and 
there  follows  romantic  tangles.  Nancy 
Carroll.  Richard  Gallagher,  Jobyna 
Howland,   Mitzi  Green. 

"Benson  Murder  Case,  The" — Para- 
mount. Best  of  the  Pliilo  Vane*  cinemas, 
absorbing,  thrilling,  with  all  intelligence 
detective  stories  will  bear.  William  Pow- 
ell at  his  best,  excellently  supported  by 
Natalie  Moorhead.  Paul  Lukas,  Eugene 
Pallette,  E.  H.  Calvert.  Richard  Tucker. 

"Free  and  Easy" — Metro-Goldwyn. 
Low  comedy  at  its  best,  with  Buster 
Keaton  escorting  a  beauty-contest  win- 
ner, Anita  Page,  to  Hollywood.  Old 
idea  with  new  treatment,  with  glimpses 
of  many  screen  notables  at  the  studios. 

"Song  o'  My  Heart" — Fox.  John 
McCormack  central  figure  in  gentle 
Irish  story,  with  eleven  songs  beauti- 
fully recorded.  Finely  directed,  excel- 
lently acted,  with  new  ingenue,  Maureen 
O'Sullivai..  and  Tommy  Clifford,  both 
from  Ireland.  John  Garrick,  J.  M.  Ker- 
rigan, Alice  Joyce. 

"Sarah  and  Son" — Paramount.  Ruth 
Chatterton  at  her  best  as  poor  German 
girl  who  rises  to  the  top  as  prima  donna, 
in  touching  mother-love  story-  Diffi- 
cult characterization  perfectly  done. 
Philippe  de  Lacy,  Fredric  March,  Gil- 
bert Emery,  Doris  Lloyd,  William 
lc 

"Men  Without  Women"— Fox.  In- 
tensely human  picture  of  men  trapped 
undersea.  Fine  characterization,  action 
motivated  by  invisible  heroine.  Ken- 
neth MacKenna.  Frank  Albertson,  as 
torpedoman  and  ensign,  are  striking. 
Paul  Page,  Stuart  Erwin,  Warren  Hy- 
mer,    Farrell    MacDonald. 

Green  Goddess.  The"  — Warner. 
George  Arliss  as  suave,  merciless  rajah 
into  whose  kingdom  a  group  of  Eng- 
lish land  by  plane.  Plans  for  e.\ 
tion  of  visitors  for  revenge  thwarted  in 
thrilling  manner.  H.  B.  Warner,  Ralph 
Forbes.  Reginald  Sheffield,  Alice  Joyce. 

"Seven  Days'  Leave" — Paramount. 
Exceptional  film,  lacking  boy-and-girl 
love  element,  with  honors  to  Beryl  Mer- 
cer and  Gary  Cooper.  Charwoman  "in- 
vents" soldier  son,  and,  to  humor  her, 
a  real  soldier  has  her  to  adopt  him. 
;e,    touching. 

"Vagabond    King,    The" — Paramount. 
All  Technicolor.     Beautifully  filmed,  far 
above     the     "Oh,     yeah?"     and     tootsie 
theme-song     musical     film 
Villon,  the   French  poet,  and  LouF   XI 


— Dennis    King   and    O.    P.    Hcggii 
spectively,     both     excellent.       Warner 
Oland  and   Lillian   Roth   fine.     Jeanette 
MacDonald  pastel  leading  lady. 

"Rogue  Song,  The" — Metro-Goldwyn. 
j.    dialogue,    all    Technicolor.      Law- 
rence   Tibbett's    debut    on    the    screen    is 

high  mark  of  musical  films.  Magnifi- 
cent voice,  vigorous  personality  make 
up  for  weak  story,  made  weaker  by  dc- 
tached  horseplay.  The  bandit  kidnaps 
the  princess.  Catherine  Dale  Owen, 
Florence   Lake. 

"Hallelujah"— Metro-Goldwyn.  All 

dialogue.  An  epic  in  its  true  meaning 
in  the  portrayal  of  the  ups  and  downs 
of  a  cotton-belt  Negro  family,  as  the 
film  reveals  the  inner  life  in  striking 
interpretations.  There  has  never  been 
a  film  like  it  in  the  dramatic  sweep  of 
a  simple  plot.     All  Negro  cast. 

"Anna  Christie"  —  Metro-Goldwyn. 
Greta  Garbo's  first  talkie  reveals  an  un- 
usually deep  voice.  Heroic  effort  in 
role  demanding  the  best  in  speech. 
Ruthlessly  frank  story  of  streetwalker 
is  unlike  her  former  ones.  Charles 
Bickford,  George  Marion,  Marie  Dress- 
ier. 

"Devil-May-Care"  —  Metro-Goldwyn. 
Dialogue  and  song.  Dashing,  tuneful 
Napoleonic  comedy,  with  Ramon  No- 
varro  at  his  best,  and  again  singing  with 
charming  skill,  as  if  the  songs  belong 
in  the  story.  Bonapartist  falls  in  love 
with  royalist  girl,  and  what  they  do 
about  it.  Dorothy  Jordan,  Marion  Har- 
ris, John  Miljan. 

"Hit  the  Deck"— RKO.  Dialogue  and 
song.  Technicolor  sequence.  Rousing 
entertainment  with  songs  and  Jack 
Oakie,  who  walks  away  with  the  pic- 
ture. Good  for  tired  musical-comedy 
fans.  A  sailor  named  Smith  stops  at 
a  port,  captivates  a  girl,  and  then  is 
found  again  among  all  the  Smiths.  Polly 
Walker,  Ethel  Clayton,  Wallace  -Mac- 
Donald,  June  Clyde,  Marguerita  Padula. 

"Hell's  Heroes"— Universal.  All  dia- 
logue. Three  bad  men  take  charge  of 
baby  of  a  dying  woman  on  the  '! 
and  undertake  to  carry  it  out  "f  the 
wilderness.  Utmost  realism  portrayed 
by  Charles  Bickford,  Raymond  Hatton, 
Fred  Kohler. 

"Welcome  Danger"  —  Paramount. 
Part  dialogue.  Harold  Lloyd  makes 
you  laugh  all  through,  with  time  out 
only  for  breathing — and  s>  h  by 

Mr.  Lloyd.  His  voice  suitable.  Harold 
runs  down  a  Chinese  villain  in  his  own 
way.  Barbara  Kent  naively  charming. 
Noah   Young   funny   as   policeman. 

"Dynamite"—  Metro-Goldwyn.  All 
dialogue.  Cecil  DeMille'i  first  experi- 
ment in  talkies  brilliantly  effective. 
Moviesque  plot,  embellished  with  fine 
acting  and  photography  and  intelligent 
dialogue,  becomes  convincing,  even  if 
about    coal    miner    and  woman. 

Kay  Johnson's  debut  perfect.  Charles 
Bickford.  Julia  Fayc.  Conrad  Nagcl, 
Muriel    McCormac,    Leslie    Fenton. 


FOR  SECOND  CHOICE. 
"Man    from    Blankley's,    The"     War- 
ner,     lolm    Barrymore   in    broad    i 
as  nobleman  taken  sor  a  hind  "gu 

to  till  in,  because  he  becomes  drunk 
and  gets  into  wrong  house.     Emily   I 

l.oretta    Young,    the    latter    turning 

out  to  be  the  visitor's  old  sweet' 

"High     Society     Blues"—  Fox. 
screen   darlings   in   picture   thai    «., 
be    taken    seriously — nor    their    singing. 
Unreal,    infantile    effort,    with    

the  old  Janet  Gaynor  and  Charles  Far- 
rell. Hedda  Hopper,  William  Collier, 
Sr.,  Lucien  Littleneld,   Louis*    Fazenda. 

"Hell  Harbor" — United  Artist 
ish  display  of  movie  making,  but  lack- 
ing in  real  interest,  making  it  routine. 
Moviesque  "child  of  nature,"  Lupe 
Velez,  about  to  be  bartered  bride  of 
reprobate,  saved  by  handsome  Ameri- 
can, John  Holland.  Realistic  acting  by 
Jean  Hersholt,   Gibson   Gowland 

"Journey's  End"— Tiffany.  Faithful 
reproduction  of  outstanding  stage  war 
play.  Devoid  of  love  interest  and  dra- 
matic formula  of  screen,  but  strangely 
revealing  life  in  a  dugout.  Cast  in- 
cludes Anthony  Bushell,  Charles  Ger- 
rard,  Billy  Bevan,  Colin  Give,  Ian  Mac- 
laren,  David   Manners. 

"Young    Man    of    Manhattan"— Para- 
mount.       Claudette      Colbert,      Norman 
Foster,    Charles    Ruggles,    dinger    Ri 
in    story    of    newspaper    folk,    made    im- 
portant chiefly  by   talent   in  cast.      " 
ing  at   times,   lifelike  acting. 
bert  a  rising  film  player. 

"Hold  Everything"— Warner.  An- 
other musical  comedy  in  Technicolor, 
with  Winnie  Lightner.  Joe  F.  Brown, 
Georges  Carpentier.  Sally  O'Xcil.  A 
prize-fight  story,  with  intrigue  around 
the. big  fight,  and  a  society  woman  try- 
ing to  win  the  fighter  from  his  sweetie. 

"Mammy" — Warner.  Technicolor  se- 
quences. Al  Joist, n  as  a  trouping  min- 
strel has  his  troubles  and  ■  iy  to 
his  mammy  in  the  West.  He  returns 
to  face  a  murder  charge,  but  learns 
there  is  none.  You  won't  cry  SO  much 
this  time.  Lois  Moran,  Lowell  Slur- 
man,  Louise  Dresser,  TuIIy  Marshall. 

"Montana  Moon" —  Metro-Goldwyn. 
Hoi-  witl,    cowboy    chorus,    jazz 

parties,     modernistic  High- 

minded    plainsman     marru 
daughter,  and  their  compromises.    Cheap 
play  d   approval.  taw- 

Ford,  John  Mack  Brown,  Cliff  Edwards, 
Dorothy  I  an,     Ri< 

Benny   Rubin. 

,rl  Said  No,  The"— Metro  Gold 

Bill     Haiti.  -.     in     be  tt.  r     film     tl 
of    ! 

with  :    Haines 

in    pleasantly    played    by 
Fran i  :-    X.    Bushman, 
Jr.,   ;  ran.     You  will  !>■ 

■ 

"Be    Yourself"      \ 

•    Ml] 


70 


The  fans  who  liked  Remarque's  novel  may  go, 
taking  an  extra  handkerchief.  And  those  who 
swear  by  Buddy  Rogers'  eyebrows  can  buy  a  couple 
of  extra  strawberry  sundaes  this  month  with  their 
movie  money. 

A  Genial  King. 
Paul  Whiteman's  "King  of  Jazz"  is  the  best  en- 
tertainment of  its  kind  the  screen  has  so  far  given 
us.  I  say  "of  its  kind,"  because  "Paramount  on 
Parade,"  indorsed  with  much  gusto  last  month,  is 
a  revue  of  an  entirely  different  sort.  It  aims  for 
intimacy,  with  the  spectacular  properly  in  the  back- 
ground, while  the  new  revue  is  a  spectacle  first  of 
fi  <  C  .         1  &&*HK  rnf™ayl\\.     And  it  is  eye-filling,  to  say  the  least.     Not 


Beryl  Mercer  and  Lewis  Ayres  are  mother  and  son  in  "All  Quiet 
.__  a ;  r  ,  sp  r         on  the  Western  Front." 


HERE    are    fans   who    will   hesitate   to    se£    "All      only  by  reason  of  the  magnitude  of  some  of  its  scenes, 

but  the  delicacy  of  taste  behind  them.  It  is  a  visual 
rhapsody,  introducing  to  the  screen  the  staging  of  John 
Murray  Anderson,  which  is  quite  unlike  the  arrange- 
ments of  other  musical-comedy  directors.  Entirely  in 
Technicolor,  fresh  nuances  have  been  achieved  by  the 
process,  and  in  some  of  the  scenes  we  see  tints  as  evanes- 
cent as  the  changing  sky  and  as  indescribably  beautiful. 

Of  plot  there  is  none,  of  course.  But  there  is  liveli- 
ness, novelty,  comedy,  with  beauty  scored  above  everv- 
thing,  and  there  is  music  such  as  only  Paul  Whiteman 
and  his  orchestra  can  contribute.  It  is  superbly  recorded, 
and  the  "Rhapsody  in  Blue"  is  not  only  played  mag- 
nificently, but  is  dramatized  with  striking  originality. 

Paul  Whiteman,  the  star,  wins  commendation  for  not 
insisting  on  stellar  prominence  in  the  proceedings,  or 
choosing  to  play  any  role  except  that  of  a  musician  and. 
briefly,  a  comedian.  His  modesty  throws  into  high  relief 
his  geniality  and  his  friendly  voice.  Instead  of  a  surfeit, 
one  is  left  at  the  end  of  the  revue  with  a  wish  to  see 
more  of  Mr.  Whiteman,  to  know  him  better  on  the 
screen. 

As  for  the  players  one  sees  fleetingly,  all  are  excellent 
and  most  of  them  are  old  friends.  John  Boles  sings 
even  better  than  usual,  and  as  he  is  required  to  act  not 
at  all,  he  is  the  perfect  revue  artist.  Jeanette  Loff  has 
more  to  do  than  any  one  else  and  does  it  prettily.  Laura 
La  Plante  and  Glenn  Tryon  are  seen  in  skits,  and  Merna 
Kennedy,  Stanley  Smith,  and  Kathryn  Crawford  are  dis- 
cernible somewhere.  William  Kent,  the  stage  comedian, 
is  genuinely  comic  in  a  sketch,  and  Jacques  Cartier,  the 
dancer,  contributes  his  familiar,  though  always  impres- 
sive, tom-tom  gyrations.  There  are  various  groups  of 
dancers  and  singers  such  as  the  Brox  Sisters,  the  Rus- 
sell Markert  precision  girls,  and  the  Sisters  G,  a  patent- 
leathered  hair  duo  that  wave  feather  fans  and  do  back 
bends — with  less  than  thrilling  results,  however. 


Quiet  on  the  Western  Front."  "They  will  put  in 
a  silly  love  story  and  spoil  it,"  a  girl  writes  from 
a  small  city.  Those  who  learned  long  ago  that  the  best 
of  books  often  turn  out  to  be  just  another  movie 
scenario  may  quiet  their  misgivings  in  regard  to  this 
war  picture,  and  see  it  with  the  assurance  that  it  is 
courageously  bitter  from  the  first  disillusionment  of 
the  boy  soldiers  to  the  killing  of  the  last  of  them  in  the 
trenches. 

Written  by  a  German  soldier,  it  rises  above  nation- 
alism, and  becomes  a  great  preachment  against  organized 
slaughter.  And  the  film  interprets  the  novel  faithfully 
on  the  whole,  falling  short  now  and  then,  rising  above 
it  at  times,  in  the  swift,  moving,  starkly  real  portrait  of 
youth  in  the  battle  lines.  You  see  war  as  a  horrible 
entanglement  of  barbed  wire  and  corpses,  machine  guns, 
and  filthy  ditches,  in  which  men  wallow  and  die  along 
with  the  rats  from  blasted  dugouts.  There  is  no  flag- 
raising  glorification  of  war,  none  of  the  glamour  that 
crept  into  other  war  pictures  from  "The  Big  Parade"  on. 
The  novel  was  written  in  order,  it  is  said,  to  get  the 
horror  of  it  out  of  mind.  This  explains  the  lack  of  those 
theatrics  that  make  you  think  war  is  a  great  old  game 
after  all,  full  of  good-by  kisses  and  rowdy  antics  be- 
hind the  lines. 

The  film  has  a  few  welcome  touches  of  low  comedy, 
with  Louis  Wolheim  and  "Slim"  Summerville  great  on 
car  appeal,  hut  comically  short  as  feasts  for  the  eye. 
The  group  of  young  players,  however,  offers  good  bal- 
last. Headed  by  Lewis  Ayres,  Russell  Gleason,  and 
William  Bakewell,  the  boys  give  even,  restrained  per- 
formances, under  the  direction  of  Lewis  Milestone,  and 
John  Wray  is  impressive.  There  is  one  bit  of  near 
romance  when  three  soldiers  swim  a  canal  to  inspect 
closer  the  charms  of  throe  sirens,  including  Yola  d'Avril, 
who  were  unseemingly  fresh  and  well-fed  looking  for  a 
war-ridden  countryside.  But  I  would  not  have  Yola's 
face  marred  by  grease-paint  worry  lines. 

Mr.  Milestone  has  done  a  magnificent  job,  having  re- 
captured the  movement  of  the  old  screen  in  a  large 
measure.  Tt  is  a  realistic  picture  of  the  caliber  that 
foreign  studios  would  like  to  make,  but  never  achieve, 
because  the  theme  gets  mired  in  propaganda,  or  in 
that  vague  sort  of  bigh-browism  that  pallid,  long-haired 
souls  call  art. 


The  Primrose  Path. 

Many  will  consider  "The  Divorcee"  Norma  Shearer's 
best  picture.  Certainly  she  is  finely  capable,  and  the 
picture  is  entertaining,  yet  one  has  only  to  give  it  a 
second  glance  to  realize  that  it  comes  under  the  heading 
of  the  superficial.  This,  however,  is  skillfully  disguised 
by  clever  direction,  exceptional  acting  on  the  part  of 
every  one,  and  Miss  Shearer's  own  brilliance.     In  case 


71 


Pau 
of  ' 


War  is  given  its  most  merciless 
portrayal  on  the  screen  and  color 
takes   on   new  values    in   the   course 

of   the   month. 


you  care,  it  is  based  on  the  novel  "Ex-wife,"  which, 
though  popular  trash,  assumed  an  honesty  that  the 
film  docs  not.  Hero  we  have  a  picture  that  skirts 
the  risque,  that  equivocates  ami  dallies  with  the  sex 
impulse,  hut  which  remains  suitable  for  children. 
That  is.  if  children  nowadays  don't  see  below  the 
surface  oi  glossy  subterfuge  and  know  as  much  as 
their  elders.  In  short,  it  is  a  hypocritical  version 
which  attempts  to  provide  entertain- 
ment that  reformers  would  approve  while  getting 
a  private  thrill. 

This  is  no  fault  of  the  director  and  the  star,  but 
is  rather  the  result  of  m<  sorship,  which  ap- 

proves the  implication  and  frowns  upon  the  deed. 
Because  of  this  we  see  Jerry,  the  heroine,  marrying 
Ted  and  after  three  years  of  wedded  bliss  acting 
the  shocked  wife  when  she  discovers  his  "past." 
Promptly  she  be>  rim  and  pensive  and  dons 

a  sable  robe  symbolic  of  trust  betrayed.  Xow. 
heroines  used  to  carry  on  exactly  like  this  in  the 
*90s  when  I  first  began  to  go  to  the  theater. 
Only  they  wore  corsets  and  the  black  gown  had  a 
longer  train.  What  I  can't  understand  in  these 
.'.led  exposes  of  life,  is  the  throw-back  of  the 
heroine  to  the  old-time  wronged  lady.  They  exult 
in  being  loose,  but  they  don't  mean  it. 

Be  that  as  it  may.  Jerry  decides  upon  the  single 
standard  and  confesses  her  own  indiscretion.  There ! 
I'm  Victorian  in  calling  it  an  indiscretion.  At  any  rate, 
they  divorce  and  Jerry  decides  to  become  a  lady  of  the 
evening.  The  phrase  is  mine.  All  she  does  is  to  accept 
jewelry  from  assorted  gentlemen  who  admire  her  hands. 
About  to  wed  an  old  flame,  she  is  conscience-stricken  by 
a  visit  from  his  wife.  So  she  renounces  him  with  all  the 
self-immolation  of  the  stage  heroine  of  an  antique  day, 
and — luck  is  always  with  these  girls — finds  her  ex- 
husband  in  Paris  and  decides  that  true  love  is  with  her 
former  mate.  For  all  I  know,  they  may  have  taken  up 
farming  to  prove  it. 

as  I  said,  all  this  is  entertainingly  set  forth.  Miss 
Shearer  makes  Jerry  real.  Chester  Morris  does  likewise 
with  Ted.  Robert  Montgomery  is  superlative  as  a  wise- 
cracking millionaire.  Florence  Eldridge  is  fluently  cyni- 
cal as  Jerry's  friend,  an  experienced  ex-wife.  And  so  it 
goes  with  Ilelene  Millard,  Conrad  Xagel,  Helen  John- 
son, and  Mary  Doran — the  latter,  by  the  way,  coming 
through  cleverly  in  her  first  important  role.  But  when 
all  the  benefits  of  the  doubt  have  been  dutifully  bestowed, 
just  trash  of  a  peculiarly  hypocritical  sort. 

The  Life  of  a  Manicurist. 

One  of  the  important  pictures  of  the  month  is  "The 
De  i  like  a  real  story  humanly  acted 

and  shorn  of  wise  cracks  and  musical  comedy,  I'm  sure 
you  will  respond  warmly — and  even  tearfully — to  this. 
And  if  you  admire  Xancy  Carroll  as  I  do — and  I  1 
many  companions  in  enthusiasm — you  will  applaud  her 
even  more  than  before  on  the  strength  of  a  realistic, 
beautifully  modulated  portrayal.  Miss  Carroll  is  every 
inch  a  star,  not  only  in  billing  but  in  perform. 

Her  that  of  Ilallic,  a  manicurist  in  a  Western 


1  Whiteman,  most  modest  of  stars,  has  every  reason  to  boast 
The  King  of  Jazz,"  though  the  Sisters  G  have  little  to  do. 


hotel,  with  a  lucrative  side  line.     In  collusion  with  s. 
men   of    farm  machinery,    she   makes   it    interesting    for 
their  prospects  from  the  rural  districts — for  a  commis- 
sion.    And  Ilallic  bargains  for  her  commission  with  the 
insistence  of  one  who  knows  her  value.      Comes  David 
Stone,  a  youth  from  the  wheat  country,  son  of  the  rich- 
est man  there,  and  Ilallic  practices  her  wiles  on  the  ; 
with  more  success  than    she   bargained    for.      He    falls 
honestly  in  love  with  her.     When  the  possibilities  of  his 
proposal  of  marriage  are  pointed  out  to  her,  she  accepts 
and  goes  to  bis  home  to  be  received  coldly  by  a  suspicious 
father  and  elder  brother.     She  allows  his  father  to  buy 
her  off  with  the  understanding  that   she  will   never 
her  husband  again,  and  she  leaves  him  injured  by  a  blow 
from    his    irate    brother.      There's    not    much    more 
relate,  except  that   Ilallic  conns  back  because  she  loves 
her  husband,  and  her  return  restores  his  mind  and  body. 
This,  too,   scarcely   hears   analysis.      At    bottom   it    is 
hokum.     But  it  is  more  honest  and  penetrating  than  " 
Divorcee"   and  also  is  more   touching.      It   is   hardly  as 
well  acted  on  the  whole,  however,  though    Miss  Carroll 
leaves  nothing  to  be  desired,  nor  does  Phillips  Holmes, 
as  David.     His  first  important  role,  he  plays  it  naturally, 
sincerely,    sympathetically.      lie   makes    masculine    inno- 
cence not   laughable   but    tenderly   moving  and    credible. 
This  is  quite  a  feat  among  Hollywood  fledgling 
Sparks  also  is  conspicuously   successful  as   Hallu 
federate.     Hobatl    Bosworth  and   James    Kirk  v.      ' 
Da-riil's  father  and  brother,  re- 
course, though  not  •  convincing.     Mr.   Bosworth 
ionary  juiciness  of  his  i  that 
he   is  always   an   actor  having   a   grand   time   sobl 
"Da-vid,  m               while  Mr.  Kirkwood  is  too  mel 
lous  in  his  speech  t<                                 wart  brother  of 
wheat  fields.     This,  however,  is  only  an  opinion. 


72 


The  Screen  in  ReVievtf 


Double  Cross  Roads. 


W-      '  iH 

L-* 

r 

^^^- 

^JH 

-  AT- 

^KiMrfttK^^ 

I  \.  ^ 

■ 

"Redemption. 


"The   Light  of  Western  Stars. 


"The  Divorcee." 


Flame  Without  Fire. 

It  all  depends  on  what  you  expect  of  screen  operettas.  Shall  they 
be  beautiful,  tuneful,  and  utterly  incredible?  Or  must  they  be 
convincingly  acted  and  deal  with  adult  emotions?  This  brings  us 
to  "Song  of  the  Flame,"  which  some  of  you  will  consider  extraor- 
dinary while  some  will  yawn  at  its  dullness.  It  is,  in  fact,  a  feast 
for  the  eye  and  a  famine  for  the  intelligence.  But,  strangely 
enough,  one  accepts  it  amiably.  At  least  I  harbored  no  homicidal 
thoughts  as  I  watched  a  succession  of  magnificent  scenes  in  trium- 
phant Technicolor,  and  admired  costumes  that  surpass  any  I  have 
ever  seen  in  the  Russian  mood.  Settings  are  rich,  bizarre,  and 
artistic  and  the  mob  chorals  and  dances  are  glitteringly  executed. 
All  this  is  dazzling,  spirited,  but  you  mustn't  look  for  acting  and 
singing  in  keeping  with  the  talent  lavished  in  production.  It  just 
isn't  there. 

For  one  thing,  Bernice  Claire  is  not  equal  to  the  demands  of  the 
prima  donna  role.  A  pretty  singer,  she  scarcely  suggests  the  com- 
pelling vocalist  who  incites  revolutionists  with  her  song.  This  she 
does,  however,  not  wisely  but  too  well.  For  while  Aninta  chants  of 
theoretical  freedom  and  justice,  the  mob  translates  it  to  mean  pillage 
and  plunder.  Heartbroken  because  her  song  has  overshot  its  mark, 
Aniuta  returns  to  the  farm  to  repent  her  "past."  The  local  prince 
falls  in  love  with  her  at  a  festival  of  the  yeomanry,  but  the  appear- 
ance of  Constantin,  the  revolutionary  leader,  strikes  terror  in 
Aniuta's  heart.  She  begs  him  not  to  tell  Prince  Volodya  that  she  is 
"The  Flame,"  though  this  would  indeed  be  stretching  the  truth ! 
But  no  matter.  She  is  betrayed  into  leading  the  Reds  to  the  castle 
of  the  prince,  who  is  taken  prisoner  by  Constantin.  In  spite  of  this, 
everything  ends  happily  in  a  bower  of  rural  beauty. 

Alexander  Gray,  as  the  prince,  sings  well.  His  baritone  is  sym- 
pathetic and  he  has  gained  in  ease  since  he  appeared  in  "Sally." 
Noah  Beery  is  Constantin,  whose  bass  voice  rumbles  in  song  as 
well  as  speech,  and  Alice  Gentle  is  his  singing  aid  in  crime.  You 
will  see  briefly  Inez  Courtney,  a  stage  soubrette,  whose  name  you 
should  file  for  future  reference.  You  will  like  her  when  you 
know  her  better. 

Mother  Doesn't  Know  Best. 

Pleasant  enough  and  fairly  exciting,  "The  Texan"  is  one  of 
Gary  Cooper's  middle-class  pictures.  Not  because  he  gives  short 
measure  of  his  talent,  but  because  the  story  is  not  charged  with  the 
compelling  emotions  of  "Seven  Days'  Leave"  or  "The  Virginian." 

He  is  "The  Llano  Kid,"  a  bad  man  from  Texas,  who  listens  to 
the  prompting  of  a  villain  to  masquerade  as  the  long-lost  son  of  a 
rich  South  American  widow.  The  plan  succeeds  and  The  Kid  is 
received  with  open  arms  by  Sehora  Ibarra  and  her  niece.  In  cases 
of  this  kind  mothers  take  a  great  deal  for  granted.  Still,  Mr. 
Cooper  is  Mr.  Cooper  and  his  ease  in  being  drawn  to  the  heart  of 
a  dowager  who  hasn't  seen  her  son  in  fifteen  years  is  probably 
what  would  happen  in  real  life.  The  bad  man  is  touched  by  the 
scnora's  trustful  affection,  so  he  refuses  to  go  through  with  the 
plot  to  rob  her.  The  sheriff  who  follows  him  from  Texas  is  also 
touched  by  the  tableau,  and  when  The  Kid  frustrates  the  villain's 
attempted  robbery  of  the  hacienda  we  have  the  logical  end  of  the 
piece,  with  the  addition  of  a  love  scene  between  The  Kid  and  the 
sehora's  niece. 

Fay  Wray  does  well  in  this  minor  role,  but  I  thought  Emma 
Dunn  too  drawing-roomy  for  the  sehora.  How  much  more  touch- 
ing had  she  been  faded  and  worn  by  waiting  for  the  son  she  never 
really  found. 

Incense  and  Embroidery. 
"The  New  Adventures  of  Doctor  Fu  Manchu"  is. for  .those  who 
like  that  sort  of  thing.  This  statement  is  not  as  patronizing  as  you 
might  think.  The  picture  is  quite  good,  really,  but  it  isn't  every 
one  that  can  scare  up  a  convulsion  over  Oriental  villainy.  There- 
fore Doctor  Tit  is  for  a  special  audience.  Here  he  is  seen  coming  to 
life  after  his  supposed  death  in  the  earlier  picture,  resuming  his 
efforts  to  put  Doctor  Jack  Pclrie  out  of  the  way,  coming  to  grips 
again  with  Nay  land  Smith,  of  Scotland  Yard,  only  to  be  given  the 
quietus  by  that  resourceful  detective.  But  one  feels  that  the  China- 
man will  be  resuscitated  for  a  continuation  of  his  implacable  hatred. 


The   Screen   in   ReViextf 


7;; 


Aside  from  the  suspense  and  thrills,  all  cleverly  sustained,  and  the 
admirable  acting  that  pervades  the  entire  cast,  one  is  impressed  bj 
the  elaborate  strangeness  of  the  Chinese  funeral  in  honor  oi 
or  I'u,  and  the  interrupted  wedding  of  Neil  Hamilton  and  Jean 
Arthur  in  an  English  abbey.  These  two  sequences  are  managed 
with  thoroughness  and  authority. 

Warner  (  Maud's  Doctor  I'u  is  a  masterpiece  oi  melodramatic 
finesse,  and  of  course  O.  1'.  1  feggie  is  smoothly  expert  as  his  enemy. 
Mr.  Hamilton  anil  Miss  Arthur  make  interesting  and  vital  a  hero 
and  a  heroine  who  would  he  nobodies  in  less  practiced  hands. 

Scotch,  Rye,  and  Bourbon. 

Maurice  Chevalier's  popularity  is  given  added  volume  in  "The 
Big  Pond,"  a  light  comedy  minus  music  except  lor  t\\  sung 

by  the  star.  It  1-  an  amusing  story  that  the  picture  tells,  with  satiric 
touches  that  illuminate  big  business  as  it  is  carried  on  in  this  coun- 
try. Mr.  Chevalier  is  Pierre,  an  impoverished  Frenchman,  who  is 
acting  as  courier  for  an  American  millionaire  and  his  daughter 
Barbara  in  Venice.  Pierre  and  Barbara  fall  in  love,  much  t< 
dismay  of  the  young  go-getter  who  is  the  father's  choice  for  a 
son-in-law.  The  two  scheme  to  cure  Barbara  of  her  infatuation  by 
bringing  Pierre  to  this  country  and  showing  her  how  illy  he  fits 
in.  To  make  doubly  sure  of  this,  Pierre  is  given  a  job  in  the 
father's  chewing-gum  factory,  where  his  work  is  of  the  hardest. 
By  accident,  he  discovers  a  way  to  improve  the  gum  and  is  accepted 
joyfully  by  the  father  who  barely  tolerated  him  before.  But  in 
qualifying  as  a  hundred  per  center,  Pierre  loses  the  very  qualities 
that  appealed  to  Barbara — his  romance,  his  beautiful  love-making. 
Of  course  he  proves  to  her  that  he  can  still  do  the  latter. 

The  picture  is  brightly  entertaining  for  so  slight  a  yarn  and  has 
many  laughable  moments.  Claudette  Colbert  is  Barbara,  a  sub- 
ordinate heroine,  and  a  child  actress  named  Elaine  Kotch  is  most 
appealing  as  a  little  maid-of-all-work. 

A  Kidnaper  for  Love. 

The  title  of  George  Bancroft's  picture  tells  us  that  "Ladies  Love 
Brutes,"  but  the  lady  in  question  doesn't  love  the  brute  at  all. 
That's  just  the  point.  Because  she,  a  well-bred  woman,  will  not 
respond  to  the  love  of  the  roughneck  millionaire  with  an  under- 
world background,  he  orders  her  child  kidnaped  in  the  hope  of 
winning  her  by  earning  her  gratitude.  The  plan  miscarries  and  his 
own  child  is  endangered.  When  the  heroine's  boy  is  returned  she 
promises  tearfully  to  gratify  the  roughneck's  yearnings,  but  he 
becomes  noble  and  renunciatory. 

You  see  it  doesn't  ring  true.  More's  the  pity,  because  Mr.  Ban- 
croft is  forceful  and  sympathetic  as  the  frustrated  millionaire.  Mary 
Astor  is  typically  "society"  as  the  heroine,  and  Fredric  March,  as 
her  estranged  husband,  is  quietly  distinguished.  David  Durand. 
who  did  so  well  in  "Innocents  of  Paris,"  is  Mr.  Bancroft's  son  with 
equal  pathos  and  naturalness. 

The  West  Revived. 

Zane  Grey's  stories  take  a  new  lease  on  life  by  reason  of  the 
audible  screen,  and  "The  Light  of  Western  Stars,"  the  forerunner 
of  a  series,  is  excellently  done.  While  it  departs  little  from  other 
stories  of  the  West,  it  has  a  pleasant,  forthright  quality  and  is 
acted  with  conviction  by  Richard  Arlen,  Mary  Brian,  Fred  Kohler, 
and  Regis  Toomey,  with  comedy  by  Harry  Green  who  is,  to  say  the 
least,  a  surprise  in  a  picture  of  this  kind.  He  plays  "Pie-pan"  Pultc, 
a  peddler,  whose  antics  and  wise  cracks  lighten  the  proceedii 
great  deal. 

In  case  you  don't  remember  the  plot  when  it  served  its  time 
silent  picture,  your  memory  may  be  refreshed  without  undue  strain 
in   recalling  that  the  heroine    from   the    1  live  on   the 

ranch  left  by  her  murdered  brother,  and  finds  herself  the  object 
of  the  villain's  plotting  and  the  efforts  of  the  hero  to  unmask  the 
latter  as  the  murderer.      lb-    51*  .   but   only 

considerable  .  much  gun  play,  and  delineation  of   ru 

character.     The  whole  thing  is  worth  seeing,  particularly  by  - 
who  are  weary  of  song-and-danre  leg 

•  98 


'Show   Girl   in   Hollywood." 


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"Song  of  the  Flame." 


'The  Ntw  Adventures  of  Doctor  Fu  Manchu." 


"The    Devil's    Holiday. 


74 


J 


oan 


As  SKe  Is 


Admirers,   new   and    old,    of    Miss    Crawford   will    welcome    this   sympathetic,   accurate 

study    of    her  character  and  her  inner  life. 


Bj  Margaret  Reid 


Tl  I  ERE  arc  two  separate  and  distinct  Joans  to  write 
about.  We  are.  though,  concerned  chiefly  with 
the  present  Crawford.  She  is  not  so  vivid,  so 
iridescent  as  the  Joan  of  night-club  fervor.  That  Joan 
shimmered  in  a  blazing  spotlight  cast  on  a  dark  dance 
floor,  her  slim,  insinuating  body  following  the  uneven 
beat  of  a  blues,  bobbed  hair  swinging  across  flushed 
cheeks  as  she  Charlestoned,  Charlestoned.  That  Joan 
was  intense,  brittle,  feverish. 

Mrs.  Douglas  Fairbanks,  Jr.,  is  quiet,  self-contained, 
gentle.  And  happy.  But  this  transition,  this  astonish- 
ingly definite  change  which  took  place  almost  overnight, 
has  already  been  told  many  times.  Since  it  was  less  a 
change  than  a  discarding  of  the  only  defense  Joan  could 
erect  against  unhappiness  and  bewilderment,  our  in- 
terest is  in  the  actual  Joan  as  she  now  stands  revealed. 

In  her  face  are  the  only  indications 
that  she  was  not  always  at  peace.  She 
is  less  pretty  than  when  Hollywood 
first  greeted  her.  She  was  deliciously 
pretty  then.  In  observing  her  pret- 
tiness,  one  did  not  notice  the  fine, 
strong  modeling  which  stands  out  in 
relief  to-day.  There  are  so  many 
beauties  in  Hollywood.  Joan  was 
one  of  the  loveliest.  Yet  she  is  love- 
lier now.  The  crystallizing  of  her 
character  is,  in  some  mysterious  fash- 
ion, reflected  in  the  very  contour  of 
her  face.  The  planes  of  cheek  and 
brow  and  chin  are  strong,  vital.  The 
eyes  that  have  looked  through  misery 
into  delight  are  steady  and  candid  and 
without  bitterness. 

Emotionally,  there  are,  in  the  pres- 
ent Joan,  no  apparent  remnants  of 
the  reckless,  too-bright  eyed,  party- 
ing Lucile  le  Sueur  who  struck  Hol- 
lywood with  the  incandescent  flash  of 
a  comet.  Young  Doug's  wife  glows 
as  steadily  as  if  the  night-club  Joan 
had  never  glittered  so  dizzily.  Her 
head  may  be  in  the  clouds,  because 
she  is  so  happy,  but  her  feet  are 
planted  firmly  on  solid  earth.  She 
is  not  afraid  to  face  actuality.  She 
builds  no  false  barriers  between  her- 
self and  the  world. 

An  unhappy  childhood  and  turbu- 
lent adolescence  behind  her,  she  ab- 
sorbs her  present  tranquillity  with  a 
deej).  passionate  zest.  The  days  are 
never  long  enough  for  the  tremen- 
dous amount  of  living  she  has  to  do. 
Her  marriage  has  given  her  the  ele- 
ment needed  to  balance  her  career 
and  its  attendant  confusions.  Her 
life  is  not  lived  spuriously  in  the 
studio.  Unlike  most  actresses  so 
young,  she  maintains  a  life  wholly 
independent  of  her  work,  and  which 
she  recognizes  as  her  real  existence. 


Sensitive    to    criticism,    Joan    Craw- 
ford is  hurt  by  jeers  at  the  publicity 
given  her  marriage. 


Her  sense  of  values  preventing  any  mingling  of  the  two, 
she  sees  no  feat  accomplished  in  the  combination  of  mar- 
riage and  a  career. 

And  Joan's  idea  of  marriage  is  as  serious  as  her  atti- 
tude toward  her  career.  Both  are  important,  but  the 
first  is  more  personal  and  is,  therefore,  the  paramount 
consideration.  She  did  not  marry  hastily,  and  there  is 
no  flighty  lark  about  her  wifehood.  Her  home  and  her 
husband's  comfort  are  deep  issues.  She  manages  both 
with  ability. 

There  is  no  housekeeper  in  charge  of  the  junior  Fair- 
bankses'  abode.  Joan  herself  holds  the  household  reins, 
and  the  routine  of  her  home  runs  on  the  proverbial  oiled 
wheels.  She  plans  all  the  menus  and  supervises  every- 
thing. There  is  never  a  trace  of  dust  to  be  found  on 
her  floors,  and  never  a  last-minute  panic  on  the  arrival 
of  unexpected  guests.  No  household 
emergency  can  disconcert  Joan,  or 
prove  too  much  for  her  resourceful- 
ness. 

Her  profusely  gardened  Spanish 
house  in  Brentwood,  between  Bev- 
erly Hills  and  the  sea,  is  gradually  be- 
coming Anglicized  as  to  interior.  She 
and  Douglas  plan  to  build  an  English 
house  for  their  permanent  home,  so 
Joan  is  already  collecting  Georgian 
highboys,  Chippendale  dining  sets 
and  chintzes  across  which  red-coated 
hunters  ride.  She  has  an  instinct  for 
color  and  line,  with  the  result  that  the 
huge,  sunny  rooms  are  exquisitely 
furnished  and  decorated,  and  correct 
in  detail.  A  devotee  of  period  furni- 
ture, she  has  educated  herself  up  to 
a  state  of  erudition  on  Duncan  Phyfe, 
Louis  Ouatorz,  and  contemporaries. 
Practical  through  past  necessity, 
Joan  manages  finances  for  herself 
and  Douglas,  too,  ever  since  he 
begged  her  to  help  him  save  five  or 
ten  dollars  of  his  salary  for  his  old 
age.  He  is  devoid  of  money  con- 
sciousness, so  Joan  sees  that  three 
quarters  of  both  their  incomes  is 
banked  each  week.  They  live  lux- 
uriously, but  not  lavishly.  Douglas 
drives  a  large  green  car,  but  Joan 
scorns  both  this  and  the  chauffeured 
car  for  her  almost  daily  shopping  ex- 
peditions. She  can  be  seen  darting 
through  town  in  the  yellow  Ford 
which  was  her  husband's  Christmas 
gift  to  her. 

She  loves  to  sew,  and  her  idea  of 
a  fair  day's  work  is  to  make  over  a 
dress  and  to  hem  and  initial  several 
handkerchiefs.  The  very  good-look- 
ing booked  rugs  to  be  found  here  and 
there  about  the  house  are  Joan's 
handiwork.  Having  "exhausted  suit- 
Continued  on  page  106 


75 


Pbeto   by  Harrrll 


The  new  depth  and  seriousness   in  Joan  Crawford's  character  are 
beautifully    reflected    in   this   photograph,   awl    you    will    find   addi- 
tional    confirmation  of   the   great   change   in   Joan    when   you    • 
Margaret    Kcid's   brilliant    apprt-' iation   on   the   Opp 


76 


Tangled  Threads 

Again  the  strangeness  of  fate  is  proven  with  the  revival 

of  "Manslaughter,"  one  of  the  most  popular  pictures  of 

the  silent  days,  with  Thomas  Meighan  and  Leatrice  Joy 

in  the  leading  roles. 

For  the  new  version  in  dialogue  an  entirely  different  cast  has  been  assem- 
bled, Fredric  March  and  Claudette  Colbert  being  the  principals.    They  will 
bring  eloquent  reality  to  the  story  of  the  thoughtless,  spoiled  society  girl 
convicted  of  manslaughter  by  the  district  attorney  who  loves  her. 


77 


Walter  Huston  plays  Lincoln 
and  is  seen,  at  the  top  of  the 
page,  in  the  box  at  Ford's 
Theater,  where  he  met  his  death 
by  assassination.  Kay  Ham- 
mond is  Mrs.  Lincoln  and  Ian 
Keith  is  John  Wilkes  fiooth. 
Mr.  Huston  is  seen,  left  and 
right,  in  two  periods  of  the 
hero's  life. 


78 


Youth  And 

That    engaging    musical    show,    "Follow 
addition  of  favorite  stars  and 


Claude  King,  at  top  of  page,  praises  daughter  Nancy  Car- 
roll's   drive,    while    Don    Tomkins    and    Margaret    Lee 
look-  on. 

Eugene  Pallette,  above,  as  Effingham,  and  Zelma  O'Neal, 

as   Angic   Howard,   enter   into  a   friendly   plot   to  bring 

about  a  love  match. 

The  fancy-dress  ball,  right,  finds  Buddy  Rogers  in  cos- 
tume for  the  first  time,  with  Margaret  Lee  on  his  arm. 
If  it's  too  exciting,  stop ! 


79 


Music 


Thru,"     comes     to     the    screen     with     the 
a  wealth  of  outdoor  atmosphere. 


A  scene  rich  in  low  comedy  occurs,  at  top  of  jjaRc,  when 
Jack   Haley  and   EofCM  I'allette,  disguised   as   plim 
invade  the   ladies'   locker  room  at  the  golf  club. 

Thelma    Todd,    above,    as    the    beautiful    menace    to    the 

understanding    of     Muddy     Rogers     and     Nancy     Carroll, 

attempts  i  i  .separate  them  with  a  meow. 

A   close-up  of   the   costume   hall    finds   Jark    Haley,    Irft, 
l<einf(   kidd'd   by   Zclma  O'Neal   Ofl  lr*T**1   of   his  double 
cxr>. 


80 


Alice  White,  in  "My  Sugar,"  manages  to 
keep  every  one  excited  over  her  love  life, 
while  seeing  to  it  that  the  other  characters 
are  not  exactly  devoid  of  amorous  uncer- 
tainties. 


Alice  White,  as  Kay  Elliott,  at  top  of  page,  enters  Myrna 
Loy's  room,  to  find  Paul  Page  in  what  is  still  incon- 
gruously called  a  compromising  situation,  while  Douglas 
Gilmore,  as  Miss  Loy's  brother,  assumes  the  attitude  of 
trust  betrayed.  Some  one  returns  some  one  else's  engage- 
ment ring  in  the  heartbreak  that  follows,  but  the  ring 
finds  its  way  back  to  a  virginal  finger,  as  usual. 


Paul   Page  and  Miss  White,   left,   realize  love's  young 
dream  and  he  is  forgiven  for  calling  her  man-crazy. 


M 


Daughter 
of  the 
Redvfoods 


Better  known  by  her  more 
famous  name,  "Girl  of  the 
Golden  West,"  she  reappears  on 
the  screen  vitalized  and  made 
eloquent  by  Ann  Harding's  un- 
usual beauty  and  voice. 


Miss  Harding,  right,  as  Minnie,  who 
keeps  a  saloon  and  gambling  house,  is  con- 
fronted by  Harry  Bannister,  as  Jack 
Ranee,  the  sheriff,  with  a  question.  It 
concerns  the  whereabouts  of  Dick  John- 
son, a  bandit,  with  wlxxn  Minnie  has 
fallen  in  love,  and  for  whom  she  lies  to 
save    from    capture. 


In  the  lower  picture  Minnie  proposes 
marriage  to  James  Rennie,  as  Dick  John- 
son, who  gently  refuses  becauses  he  loves 
her  too  much  to  forget  his  unworthiness. 


82 


Photo  by  Hurrell 


A  Canoe    For  Txtfo 


Dorothy  Jordan  is  saying  no  such  thing,  of  course,  for  that  would 
be  too  utterly  bold  for  an  old-fashioned  girl.  But  look  at  the 
vacant  space  in  the  boat.  Look,  too,  at  her  smile.  It's  open- 
minded,  to  say  the  least.  What's  more,  she  needs  some  one  to 
paddle   her   home.     But   why   go   on   with   this   sales   talk?     Be 

yourself ! 


B3 


Beauty  Goes 
To  War 


By 

Willard 
Chamberlin 


A  lone  man  looks  at  the  battle  for  supremacy  among 

the  beauties  of  Hollywood  and  tells  what  he  thinks 

of  their  individual  charms. 

BEAUTY!    A  subject  truly  fascinating  to  discuss,  but 
one  which  so  often  fails  to  be  conclusive. 
"Which  is  the  most  beautiful  star  in  Hollywood?" 
the  maga  &     A  committee  chooses  its  favorites,  and 

the  most  popular  are  listed  as  the  "Ten  Most  Beautiful 
Women  in  Hollywood. "  Usually  there  are  several  who 
represent  an  accepted  form  oi  flower-petal  beauty,  and  who 
their  own  charm  when  placed  among  the  others.  A 
few  more  who.  when  seen  beside  women  like  Corinne  Grif- 
fith and  Billie  Dove — two  who  are  invariably  chosen — 
suffer  by  comparison. 

In  addition  to  Corinne  Griffith  and 
Billie  Dove,  Yilma  Banky.  Esther 
Ralston,  and  Norma  Talmadge  are  fre- 
quently among  those  honored.  Many 
others  are  generally  accepted  as  beau- 
tiful, and  receive  adjectives  such  as 
'"charming"  and  "bewitching."  some- 
times sadly  mischosen.  before  their 
names.  Among  these  are  Marion  Da- 
Bebe  Daniels.  Irene  Rich.  Alice 
Joyce,  and  Norma  Shearer. 

Then  there  are  the  countless  pretty 
girls,  who  have  a  young  freshness  and 


Constance    Bennett    has    truly    sophisti- 
cated  beauty. 


Corinne   Griffith   is  always   chosen 

in  any  nomination  for   the  beauty 

prize. 

Dorothy  Revier  is  like  crystal  ice, 
devoid  of  warmth. 


a  bright,  sparkling  vivacity  that 
is  often  mistermed  beauty.  Mary 
Brian,  Janet  Gaynor,  I. aura  La 
Plante.  "  Betty  Anita 

Page,  Jeanette  Loff,  Joan  Ben- 
nett, Sue  Carol.  Loretta  Young, 
Marian  Nixon.  Nancy  Carroll, 
and  Mary  Astor  are  pretty  in  a 
girlish  way.  and  their  sweet — 
sometimes  too  sweet — faces  are 
labeled  beautiful. 

There  is  no  single  standard  of 
beauty.     It  is  as  varied,  as  multitudinous  as  all  the  beauti- 
ful things  on  earth.    As  an  orchid,  a  pond  lily,  and  a  spray 
of    cherry    blossoms    arc    beautiful    yet    different, 
may  be  the  beauty  of  three  women.     A  pine  h  lUti- 

ful  in  its  somber  stateliness.  A  seashell — beautiful  in  its 
delicate,  roseate  setting.  So.  tOO,  the  women  of  the  screen. 
And  when  we  consider  them  in  such  a  light,  many  to 
whom  we  had  accredited  no  degree  of  beauty  seem  to 
possess  it  in  countless  strange  v. 

First  of  all,  we  find  beauty  symbolic.  Strange  mystei 
lovely  color-;,  the  lure  of  jewels,  (lowers,  perfumes;  such 
vagrant   charms  as   these  lurk   in   a   woman'-  \n<\ 

in  the  galaxy  of  stars  we  find  them  all.     [nscrutabl 
whimsicalities,  d  ntridties  are   found   in   i 

in  lips  in  the  arch  of  eyebrow 

Hollywood  is  a  city  of  beauty.     It  trades  in  the  marl 
harm.      Everywhere  one  sees  it.     Whether  it  be  nat- 
ural or  artificial,  real  or  unreal.   Hollywood   finds  a  ] 
for  it  within  its  ma<,'ic  walls.      And  here  am  ^ink- 

icicles  and  cobwebs,  lighted  by  firefly  glow,  the  stars  v. 
tinsel  creatures,  manikins  and  French  dolls,  or  what  I 
you  ? 

They   tried   to  change   it.      The   realism    fiei 
at  the  fragile,  wi  'he  rain! 


84 


Beauty  Goes  To  War 


Alma  Rubens'  is  the  quiet  beauty  of  old  Spanish-  America, 
of  the  California  of  rambling  haciendas  and  crumbling  mis- 
sions. The  dark  loveliness  of  a  sehorita  of  days  gone  by  is 
in  the  brooding  depth  of  Miss  Rubens'  eyes ;  an  old  cloister 
filled  with  yucca  blossoms ;  a  secluded  shrine ;  the  sonorous 
chime  of  bells  at  sunset — such  is  the  lovely,  glowing  beauty 
of  Alma  Rubens,  who  so  gorgeously  personifies  "The  Girl  of 
the  Golden  West." 

How  beautiful  can  a  wicked  woman  be?  Just  as  beautiful 
as  Dorothy  Revier,  who  typifies  the  blond  siren,  or  Mary 
Duncan,  who  is  her  brunet  sister  in  sin.  Miss  Revier  has 
crafty,  fascinating  eyes,  complemented  with  jewels  and  dar- 
ingly cut  gowns.  She  is  like  crystal  ice,  brilliantly  beautiful, 
devoid  of  warmth  or  sympa- 
thy. Equally  devastating  is 
the  witchery  of  Mary  Duncan. 
Heavily  shaded  eyes,  enchant- 
ing perfume,  the  gliding  move- 
ments of  a  panther  make  up 
the  seductive  lure  of  the  Dun- 
can. Women  of  the  type 
played  by  these  are 
usually'  "too  beauti- 
ful to  live,"  and  in 
their  film  lives  their 
intrigue  is  their  even- 
tual undoing. 


Greta  Garbo's  beauty  is  that  of  a  lonely 
pine. 

tinted  mirrors.  They  tried  to  tear  the 
masks  of  loveliness  from  the  faces  of 
the  film  ladies,  tried  so  hard  to  convert 
them  into  human  beings.  Their  beauty 
irked  the  realists.  Perhaps  we  loved 
our  tinsel  beauty  not  wisely,  but  too 
well.  And  so  they  went  about,  stick- 
ing pins  into  iridescent  bubbles,  hurling 
mud  at  the  jades,  and  calling  the  dolls 
of  the  screen  little  more  than  sweet 
nothings.  They  almost  succeeded  in 
dragging  the  stars  from  the  pedestals 
the  fans  had  built  for  them. 

We  find  countless  stars,  each  with 
her  own  individuality,  appealing  to 
some  distinct  conception  of  beauty,  as 
different  as  the  moods  of  the  seasons, 
a  different  setting  for  each  lovely  lady. 
Where  Estelle  Taylor  would  be  plain 
in  a  setting  designed  for  the  girlish 
Mary  Brian,  she  was  beautiful  in  the 
Oriental  atmosphere  of  "Where  East 
Is  East." 

Myrna  Loy  is  ever  the  exotic.  She 
cannot   escape   her   aura  of   seduction. 

Her  beauty  is  the  lure  of  strange,  far-off  places,  the  languor  of  tropical  isles, 
the  spell  of  desert  nights.  She  belongs  in  the  Far  East,  tending,  with  her  taper- 
ing, jeweled  hands,  the  incense  burners  of  a  temple;  her  feet  gliding  to  the  beating 
of  drums  and  gongs.  Her  beauty  is  vivid,  sensuous.  The  eyes  of  an  enchantress, 
Loy  is  the  reincarnation  of  Circe,  made  only  to  lure  men  through  subtle  wiles. 
Yet  she  is  saved  from  being  the  temptress  by  the  addition  of  a  delightful 
piquancy,  a  naive  spiciness  which  mingles  with  the  heavier  exoticism  which 
is  her  own  potent  gift. 

Then  there  is  the  flashing,  crimson  beauty  which  belongs  to  Spain.     Two 
actresses  possess  the  lovely,  glowing  beauty  of  this  land  of  proverbial  sun- 
shine. Dolores  del  Rio  and  Alma  Rubens.     Del  Rio  is  so  gorgeously  typical 
of  old  Spain.     She  is  the  fair  one  who  is  serenaded  on  a  high,  starlit  balcony, 
the  one   in  whirling  skirts  who  weaves  to  the  click  of  castanets  and  the 
fiery  dash  of  the  tango.     She  is  the  high  lady  who  wears  mantillas  of 
finesl   lace,   whose   smile   is   Hashing  and  brilliant.      She  sits  in  orange 
courtyards  or  walks  in  the  steep,  narrow  streets  of  Madrid.     Such  is 
the   make-Up   of    Del    Rio's   beauty. 


Olive  Borden  has  the  tempting  beauty 
of  sun-ripe  fruit. 


V  i  1  m  a      Banky's 
beauty    is    unchal- 
lenged. 


Beauty  Goes  To  War 

Dolores  Costello's  is  the  beaut]   of  an  age   just  past,  that 
indefinite  period  called  voters  car.     The  lovely,  fragile  Dolores, 
gentlewoman  oi  the  old  South,  is  in  her  correct  setting! 
Her  beauty  belongs  in  an  old  plantation  house  of   Virginia. 
Oak  trees,  misty  moonlight,  and  Dolores  in  the  costumes  of  a 
half  century  ago.    Can  you  imagine  a  more  delightful  picture? 
Libyan  Tashman.     Lilyan's  is  the  artificial  beauty  that  goes 
with  lovely  jewels  and  stunning  gowns.     A  beauty  frankly  of 
the  coiffeur,  the  masseuse,  ami  the  manicurist.     A  polished, 
suave  beauty  especially  concocted  to  complement   lovely  things. 
auty  which  is  only  at  its  best  when  added  to. 
Olive  Borden.     The  tempting  beauty  oi"  some  luscious,  sun- 
ri|x-   fruit.      That   is  Olive.      Her  beauty   is   striking,   gorgeous, 
extravagant. 
Then  there  is  the  beauty  of   intelligence,  and   we  turn  to 
stance  Bennett.     She  typifies  the  cosmopolite,  the  woman 
of  the  world,  delightfully  at  ease  in  the 
life  oi  capitals.     Traveled,   cultured,   she 
has  a  beauty  which,  though  not   striking, 
is  marked  by  its  quiet  distinction,  it-  ex- 
Betty  Compson,  below,  has  the  beauty 
of  wistfulness. 


Mary  Nolan's 

is  the  beauty 

of  vanity. 


V 


Ref  inem  e  n  t 
best  describes 
Norma   Shear- 
er's beauty. 


Marian   Nixon  is  among  the  prettiest  girls. 

clusiveness.  It  stamps  her  as  one  of  the  elite.  So 
many  try  desperately  to  be  sophisticated,  through 
almost  ridiculous  coarseness,  aided  and  abetted  by 
too  much  lipstick  and  eyeshade,  too  many  cig- 
arettes, and  a  flagrant  disregard  of  conventions — a 
silly  pretense  at  worldlim 

A  direct  contrast  to  this  brash  type  is  Constance 
Bennett's  true  sophistication,  a  composite  of  as- 
sured polish  and  intelligence  which  has  gone 
through  a  thorough  modernization  without  losing 
any  of  its  quality.  False  sophistication  can  ruin 
beauty:  Constance  Bennett's  brand  adds  to  hers. 
Her-,  too.  is  the  delightful  gift  of  social  poise,  the 
rather  cold,  indifferent  beauty  of  those-  who  live  in 
a  world  of  races,  teas,  and  musicales;  chic,  im- 
peccably groomed. 

Evelyn  J'.rent's  is  the  beauty  of  a  cat.  A  purring 
cat.  with  half-shut  eyes  before  a  lire.  She  is 
drowsy,  smoldering,  sullen,  and  she  works  a  spell 
over  the  watcher.  Like  the  moon  with  a  cloud 
across  it.  she  keeps  her  beauty  hidden  away  beneath 
a  veil  of  enchanting  secrecy.  Perhaps  it  is  the 
fascination  of  those  caressing  eyelashes.  You  can- 
not grasp  her  beauty  in  one  glance;  it  must  be 
udied  and  pondered  upon. 
Her  face  is  the  face  of  the 
mystery  woman  in  the  story, 
who  peers  out  from  dark  cor- 
ners and  entrances  you  with 
her  face  alone.  I ler  eyes  are 
the  dark,  shadowy  pools  one 
read-  about  in  poetry.  Such 
a  person  as   Evelyn  would  of 

sitV      be      beautiful:      her 

taken  for  granted. 
ta  Garbo.     The  strong, 
wild  beauty  of  the  Northland. 
A    dj  if    the   vikir 

primitive,  and 

untamed.        1  ler     blond     hair 
blowing   free,  her  determined 

h,  they  are  the  beautv  of 
a  woman  who  has  known  life 
alone.     A  uty.  like 


1^     ^11^     ^ 


80 


Beauty  Goes  To  War 


Dorothy     Sebastian 
is  the  typical  South- 
ern beauty. 

that  of  the  tall 
pines,  the  pound- 
ing sea,  and  the 
strange,  irresistible 
beauty  of  Northern 
lights.  Greta  is  the 
crotiquc,  a  woman 
of  moods,  turbulent 
emotions  hidden  un- 
der a  cold  mask. 
She  is  like  a  fresh 
wind  blown  out  of 
the  North. 

Thelma  Todd's 
beauty  is  of  the 
Grecian  goddess 
type.  Blond  and 
statuesque,  Miss 
Todd  is  the  Diana, 
the  Aphrodite,  the 
Terpsichore  of  the 

Grecian  myths.  She  might  be  the  princess  in  a  mythical 
kingdom,  or  the  lady-in-waiting  to  the  queen,  a  little  love- 
lier than  the  queen  herself.  Pearls  and  ermine  add  to  her 
blond  charm. 

The  piquant,  illusive  Jetta  Goudal  is  a  breath  of  old 
Versailles.  Subtle  as  incense,  or  a  whiff  of  lavender,  de- 
lightful as  a  Watteau  painting,  she  brings  back  the  minuet 
to  our  modern  jazz-jaded  life.  She  brings  to  mind  lace- 
edged  bouquets  of  moss  roses,  silhouettes  in  miniature, 
mellow  tapestries,  brocades,  and  powdered  wigs.  She  is 
a  pink  lady,  framed  against  the  Iriaiions  and  lagoons  of  an 
empire  that  lived  for  loveliness.  She  should  be  a  Madame 
Pompadour,  with  the  grace  of  the  century  she  represents. 

Renee  Adoree— the  gamin,  child  of  the  cabarets.  A 
bewildering  little  apache  girl  of  violent  loves  and  stormy 
tempers.  Tousled  hair,  silken  legs.  A  type  distinctly 
Parisian— beautiful  in  an  amusing,   impudent  way. 


Jacqueline  Logan  is  an  evening  girl. 


Gloria  Swanson — a  beauty  purely  theatrical ;  the  jew- 
eled, gilded  beauty  of  an  actress.  A  lady  of  moods 
and  whims. 

Aileen  Pringle — the  beauty  of  smart  worldliness.  A 
refined  beauty  capped  with  effervescent  wit. 

Carmel  Myers — the  alluring  beauty  of  exotic  flowers 
and  perfumes.  The  spell  of  the  siren.  Desire  for 
things  luxurious. 

Joan  Crawford — the  beauty  of  madcap  youth;  gay, 
carefree,  alive.     The  beauty  of  things  modernistic. 

Betty  Compson — the  beauty  of  wistfulness — a  little 
of   sadness   mingled  with   smiles. 

Leatrice  Joy — the  beauty  of  happiness  and  one  that 
goes  with  pretty  things  and  feminine  luxuries. 

Dorothy  Sebastian — the  typical  Southern  beauty.  The 
warmth  and  dark  color  of  old  New  Orleans  women. 

Patsy  Ruth  Miller — the  party  girl,  the  debutante. 
Sparkling,  winning,  the  hostess  at  teas  and  buffet  sup- 
pers.    Fresh,  captivating,  popular. 

Dorothy  Mackaill — the  old-fashioned  charm  of  quaint 
New  England.  A  plain  beauty  that  goes  with  grand- 
father clocks,  patchwork  quilts,  and  four  posters.  The 
beauty  of  larkspur  in  a  brick-walled  garden. 

Jacqueline  Logan — the  evening  girl.  Best  in  the 
smart  supper  clubs.  Chic  but  never  extreme.  A  beauty 
that  is  best  defined  as  costly. 

Mae  Murray — the  beauty  that  goes  with  things  bi- 
zarre and  strikingly  novel.  Exaggerated  beauty ;  the 
enchantress  in  a  fairy  tale,  a  lovely,  unreal  creature 
in  a  dream. 

Lupe  Velez — a  beauty  that  is  like  a  skyrocket,  dash- 
ing color  through  space.  The  beauty  of  brilliant  but- 
terflies, red  shawls,  birds  of  paradise.  A  beauty  es- 
sentially of  rich  coloring.  [Continued  on  page  115] 

The  beauty  of  radiant  happiness  is  reflected  by  Leatrice 

Joy. 


-7 


High  And  Handsome 

Several  screen  teams  do  some  lively  capering  at  the  beach 

and   pool. 


\ 


-• 


■ 


r^ 


Mary  Doran,  above, 
perches  comfortably 
«>n  the  shoulder  of 
Joel  McCrea,  a  col- 
lege athlete  new  in 
pictures       with 

'h  to  spare   in 

hi-  arms. 


The  human  watch- 
tower  of  Malibu, 
Veil  and  Eba  Ham- 
ilton, right,  arc  look- 
ing out  over  tb< 
ter  for  a  friendly 
sail,  or  canoe,  or 
maybe  they  ar 
looking.      U'h  o 


Teammates  on  the  screen, 

teammates  at  play,  as  we 

have     always     said,     and 

you    have    Bernice 

Claire    and     Alexander 

Gray,  above,  gi  ttu 

anced    for   one  of   those 

wild   !■  ,ut  which 

imming    pari  y    is 

really  no  swimming  party 

at  all. 


M.ie  Garke  and  ! 
ert  Aim-,  above,  .sim- 
ply would  not  be  out- 
don-,  so,  opportunity 
and  tli»-  camera  si 
ing  up  at  the  --ame 
moment,  Robeii  -  urept 
Ma< 

hi-     brawny     shoulder 

e  graceful  ni 


Haven't   tbt  y   gol    fun, 

the 

■ 


88 


Tkey  Reel 


The  new  pastime  in  Hollywood  is  making 

when    on   a   holiday    from   the   studio,   as 

boats   when   on   shore    leave, 


so 


By  Myrtle 


Photo  iiy  Ti 
Robert  Armstrong  and  his   wife   are   enthusiastic   followers   of   the 

new  pastime. 


REEL  as  you  ramble"  must 
be  Hollywood's  new  slo- 
gan. Though  many  play- 
ers complain  wearily  that  they 
long  to  get  away  from  pictures, 
the  fascination  of  movie  making 
has  cast  a  spell  upon  them.  Their 
work  seems  only  to  whet  their  in- 
terest in  photography,  and  many 
leisure  hours  are  spent  in  taking 
pictures.  They  get  much  pleas- 
ure from  being  behind  the  cam- 
era and  directing  the  scene. 

A  small  movie  camera  is  indis- 
pensable to  the  majority  on  vaca- 
tion. When  wanderlust  grips 
them  later,  and  production  sched- 
ules tie  them  to  the  treadmill, 
they  become  armchair  travelers, 
living  over  again  the  thrills  and 
fun  of  their  journeys  as  flashed 
back  from  their  living-room 
screens. 

Through  the  swift  action  of  a 
stirring  polo  game  is  caught  a 
familiar  face,  a  Jack  Holt  adding 
both  handsome  profile  and  skill- 
ful horsemanship  to  the  excite- 
ment of  a  hard-fought  chukker. 
A  Will  Rogers  tumble  is  an  un- 
rehearsed thrill.  Babies  open 
wide,  toothless  mouths.     Filmdom  frolics  at  gay  garden  and  swimming  parties. 

The  varied  material  of  these  home  shows  reflects  the  nimble  brains  and  the 
many  personal  interests  of  the  cinemese.  Though  some  feature  themselves  in 
mountain  climbing  or  other  sport,  most  often  there  are  stretches  of  scenic 
beauty  which  bad  caught  their  eves.  When  there  is  a  cast,  it  usually  is  made 
up  of  friends  at  play,  in  which  case  the  picture  is  taken  frequently  without  the 
knowledge  of  the  actors,  making  it  all  the  more  delightful  entertainment. 

There  is  even  some  talk  of  exchanging  reels  as  Christmas  and  birthday  gifts. 
Stepping  snapshots  have  been  sent  to  absent  relatives,  in  place  of  less  colorful 
letters.  The  late  Mabel  Xormand  was  the  first  wife  to  send  to  her  husband  a 
film  record  of  her  occupations  during  bis  absence  several  years  ago. 

Practically  all  parents  proudly  display  animated  albums  of  their  children. 
Instead  of  turning  pages  to  show  their  darling's  growth,  reels  depict  her  develop- 
ment, the  first  tooth  being  allotted  a  close-up.  Eventually,  miniature  mikes 
will  catch  the  first   "da"  ! 

May  McAvov.  Ruth  Roland.  Reginald  Denny.  Alary  Eaton,  and  others  have 
had  their  marriages  "movied."    Harry  Langdon's  was  to  be  "sounded,"  but  his 


voice  blew  out  the  fuse  and  plunged  Beverly 
Hills  into  darkness.  These,  however,  belong 
in  the  class  of  stellar  events  filmed  by  regular 
camera  men. 

The  outdoors  world  interests  the  players, 
though  sport  scenes  of  themselves  are  promi- 
nent among  their  releases  when  friends  are  en- 
tertained with  home  projection. 

What  variety  the  stellar  news  reels  contain, 
and  how  welcome  to  rasped  ears  is  their  quiet ! 
The  mighty  Mississippi  is  caught  in  Ken  May- 
nard's  pictorial  diary  of  a  lazy 
trip  down  that  broad  water- 
way. Yilma  Banky  filmed  her 
trip  to  New  York  for  her  hus- 
band, Rod  La  Rocque,  so  that 
she  could  show  him  every 
place  she  went.  Her  long 
shots  of  the  harbor  and  the 
Statue  of  Liberty  have  artistic 
merit.  Small  crowds  collected 
around  her  as  she  filmed  street 


scenes. 

One  of  the  first  to  take  up 
the  fad,  Colleen  Moore  has 
graduated  from  a  prep  school 
of  the  hand  camera.  She  pho- 
tographs now  in  Technicolor. 
Sports,  house  guests,  and  the 
antics  of  her  dogs  are  favorite 
subjects. 

Carol  Lombard  has  her  camera 
trained  on  all  comers. 


Conrad  Nagel  is  a  willing  subject  for  Lila  Lee, 

for  he  gives  much  of  his  leisure  time  to  amateur 

photography. 


B9 


Their  Ovtfn  - 


amateur  movies,  and  the  stars  take  to  it, 
keenly  as  sailors  take  to  amusement  park 
strong    is    the    spell    of    celluloid. 

Gebhart 

Bebe  Daniels1  productions  are  unique,  re- 
cording her  building  operations.  The  erection 
oi  ;i  house  is  caught  in  a  few  feet  of  film  at 
each  stage,  these  being  spliced  together  so  that 
her  houses  appear  to  shoot  up  by  magic 

D    Hersholt's    library    may    or    may    not 
prove    an    advantageous    training    ground    for 

-  son,  depending  on  whether  or  not  the  boy 
:;es  an  actor.    Certainly,  it  he  follows  the 
profession,   he  will 


have  available  for 
study  a  hue  screen, 
one  of  Mr. 
sholt's  pictures, 
from  "Greed"  on,  is 
represented,  and  the 
art  oi  make-up  is  re- 
vealed. 

Lupino  Lane  records 
his  tumbling  and  con- 
tortionist feats  and, 
by  close  observation 
of  his  stunts,  he  can 
the  more  easily  keep 
fit  and  correct  errors. 

The  Fred  Xiblos  are 
champion  amateurs  in 

Sally    Blane    enjoys 

filming    things    as    she 

rambles. 


Neil    Hamilton,   who   made   a   movie    record    of   his 

trip  to  Europe  last  fall,  snaps  his  secretary,  Donald 

McKay. 


J  e  a  n  e  t  te 
Loff  enjoys 
operating  a 
movie  cam- 
era. 


photography.  For  years  they  have  considered  a 
camera  essential  to  every  auto  tour.  Last  sum- 
mer, driving  through  the  Middle  West  and  Can- 
ada, they  shot  fifteen  thousand  feet  of  film,  for 
their  own  amusement,  and  as  a  scenic  reference 
for  future  locations.  Mr.  Niblo  says  that  other 
tourists  they  met  on  the  road  were  picturing  their 
own  travels. 

With  his  small  movie  camera,  Neil  Hamilton 
photographed  his  European  trip,  his  wife  and 
secretary,  Donald  McKay,  posing  against  the 
scenery.  His  most  interesting  shots  were  taken 
at  Spreewald,  a  little  town  near  Berlin  where. 
ral  years  ago,  he  worked  with  D.  W.  Griffith 
filming  parts  of  "Isn't  Life  Wonderful?'"  lb- 
had  taken  snapshots  of  townspeople  and  was  in- 
terested in  making  a  film  comparison.  The  place 
showed  few  changes,  not  one  new  house. 

Trior  to  his  trip  abroad,  Hamilton  had  climbed 
the  mountains,  his  camera  being  unstrapped  occa- 
sionally and  focused  to  catch  some  lovely  vista  or  show-clad  peak. 
Once  he  neglected  art  for  tomfoolery.  However,  the  scene  with  himself 
as  Ilamlct  and  William  Powell  as  camera  man  and  director  is  so  funny 
that  his  lapse  was  forgiven. 

Bill  Seiter  and  Laura  La  T'lante  recorded  ship  life  and  entertainment 
en  route  to  Honolulu,  and  the  Jack  Mulhall  reels  contain  glimpsi 
tropic  life,  comedy  relief  being  provided  by  Jack's  plunge  into  thi 
from  a  surf  board. 

Besides    plane   take-offs,    Wallace    Beery's    collection    is    replete    with 
fishing  and  camping  trips  and  VO]  His  reels  of  sea  gulls, 

their  wings  spread  against  the  sky.  at  ous  photographi 

His  feature  is  a  pictorial  record  of  a  flight  over  Mount  Whitney. 

A  camera  goes  '"down  to  the  sea  in  ships"  with  <  I  mcroft.     An 

ocean  storm  has  been  caught  washing  the  decks  of  fishing  -ma 

Equally  thrilling  are  the   rare  invit.v 
of  wild  animal  and  bird  life  off  tl  n  of  hui  I 

Walton-.      He  is  a  rabid   fan  and  yets  material   froi  not 

visited  by  the  casual  explorer.     His  reels  of  wild  duck-  in  action  i 
up  the  most  complete  record  of  its  kind  in  the  amateur  field. 
hours,  crouched   in  n  ppear  in 

sufficient  number-.     On  hunting  trips  he  shoots  in 
than  with  gun.     Sometitl  ript  makes  hero.  !i   and   1 

with  other  creature-  of   the  wild-  as  chai 

vorite  pa-time  i-  also  indulged  during  his   screen  work. 
rated    \  tudio   a- 

The  Crown   Prince  of  Sweden,  Genei  nd  many  others  smile 

from  his  screen.  |(  :14| 


90 


Dorothy   Mackaill,  above,  tries 

to  save  Sidney  Blackmer   from 

his  reckless  foolishness. 


Jack   Mulhall,   right,    is   a   cau 
tiuus  chap. 


Grant  Withers,  below,  halts  be- 
fore a  superstition  that  can  be 
no  older  than  cigarettes. 


Unlucky  Breaks 

Some  of  the  players  need  a  gold-mounted   rab- 
bit's foot. 


/ 


Dorothy     Mackaill,     above,     is 

hoodooed  now   for  seven  long 

years. 


Friday     the     thirteenth     makes 

Lois    Wilson,    below,    gasp    at 

the  idea  of  working. 


o 

♦ 

♦ 
♦ 

o 


A  Love  That  Could  Not  Be  Forgotten 


She  ran  away  to  the  man  of  her  heart,  but  in  his  home  she  found  a  care- 
worn mother  who  had  ambitious  plans  for  him.  She  was  a  mother  who 
had  scraped  and  saved  for  years  to  send  her  boy  through  college,  and  when 
she  found  that  a  seemingly  frivolous  girl  from  a  wealthy  home  had  come 
between  her  and   her  ambition  for  her  boy  there  was   darkness  in  her   soul. 

But  there  was  real  stuff  in  the  girl  after  all.  She  made  her  great  sacrifice 
and    went    away    to    forget. 

Acting  always  on  impulse.  Geraldine  Loring  found  at  length  that  one 
never  does  forget   true  love.     This  is  but  an  outline   of  the  unusual   theme  of 

Impulsive  Youth 

By  VIVIAN  GREY 

Young  and  old  alike  will  recognize  the  characters  in  this  novel  as  they 
are  tenderly  and  delicately  drawn  by  the  author  as  very  real  persons  indeed. 
"IMPULSIVE  YOUTH"  is  a  CHELSEA  HOUSE  book.  And  that  means 
that  it  is  a  popular  copyright  which  has  never  before  appeared  between  book 
covers.     One  of  a  series  of  famous  love  stories  issued  by 

CHELSEA  HOUSE,  79  Seventh  Avenue,  New  York  City 


Price,    75   Cents 


8 


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Price,    75  Cents 


0     +     0     +     0     +     0     +     0     +     0     +     0     +     0     +     0     +     +     +     4     +     0     +     * 


ftOA* 


LION 


&OA* 


ANNOUNCES     THE     GREATEST 


Metro- Goldwyn-Mayer  will  again  demonstrate  that  it  is  the  greatest 
producing  organization  in  the  industry.  The  company  that  has  ''more 
stars  than  there  are  in  heaven" — the  greatest  directors  —  the  most 
famous  composers — the  most  marvelous  creative  and  technical  resources 
—  pledges  itself  to  continue  producing  pictures  as  wonderful  as  THE 
BIG  PARADE,  BEN  HUR,  THE  BROADWAY  MELODY,  MADAME  X, 
HOLLYWOOD  REVUE,  OUR  DANCING  DAUGHTERS,  THE 
ROGUE  SONG,  ANNA  CHRISTIE,  THE  DIVORCEE— to  mention 
only  a  few  of  the  great  M-G-M  pictures  that  have  taken  their 
place  in  Filmdom's  Hall  of  Fame.  No  wonder  Leo  roars  his  approval  as  he 
looks  forward  to  the  greatest  year  Metro-Goldwyn-Mayer  has  ever  had! 


METRO-GOLD 

"More   Stars    Th  a  n 


gj 

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V 

Greta 
Garbo 

Lon        j 
Chaney    j 

<  M 

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Y      Joan 
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Gllbert^^r 
n.                  W.  (      Buster 

/  **5l  \ Kea,on 

r,      11^*                     ^ 

i. 

Polly 
Moran 

1 

\, 

/Marie 
'Dressier 

91 


METRO-GOLDWYN-MAYER 


PRODUCTION    SCHEDULE    IN    ITS    HISTORY 


■y 


Shearer 


Marten 
Devies 


Navarre 


Lawrence 
Tibbett 


'/    J™* 
Buchanan 


19   3   0 


19   3  1 


FEATURED 
PLAYERS 

Wallace  Beery 
Charles    Bickford 
Edwina  Booth 
John  Mack  Brown 
Lenore  Bushman 
Harry   Carey 
Karl    Dane 
Mary  Ooran 
Cliff   Edwards 
Julia   Faye 
Gavin    Gordon 
Lawrence   Gray 
Raymond   Hackett 
Hedda    Hopper 
Loltice   Howell 
Leila   Hyams 
Kay   Johnson 
Dorothy  Jordan 
Charles  King 
Arnold  Korff 
Harriett  Lake 
Mary    Lawlor 
Gwen    Lee 
Barbara  Leonard 
Andre   Luguet 
George  F.  Marion 
Dorothy   McNulty 
John   Miljan 
Robert   Montgomery 
Catherine   Moylan 
Conrad    Nagel 
Edward   Nugent 
Elliott   Nugent 
J.    C.    Nugent 
Catherine  Dale  Owen 
Anita   Page 
Lucille    Powers 
Basil    Rathbone 
Duncan    Renaldo 
Gilbert  Roland 
Benny    Rubin 
Dorothy   Sebostion 
Gus    Shy 
Lewis   Stone 
Raquel    Torres 
Ernest   Torrence 
Roland   Young 

DIRECTORS 

Lionel 
Barrymore 
Harry    Beaumont 
Charles  Brabin 
Clarence     Brown 
Jack  Conway 
Cecil    B    DeMille 


A   few  of  the   big 

pictures   to   come 

Ramon  NOVARRO 

"Madame  Satan" 

The   Singer   of  Seville 

(Directed  by 

Cecil  B.  DeMille) 

Greta  GARBO 

"Red  Dust" 

"Billy  the  Kid" 

(Directed  by   King   Vidor) 

Marion  DAVIES 

Rosalie" 

"The  March  of 

Time" 

Joan  CRAWFORD 

(With  'more  jfars   than 

"•-*             t     r\          '  ' 

there   are    in    heaven') 

Great  Day 

Lon  CHANEY 

"Jenny  Lind" 

with 

The  Bugle  Sounds" 

Grace  /Moore 

John  GILBERT 

"The  World's  Illusion" 

Way  for  a   Sailor" 

Lawrence  TIBBETT 

The  Great  Meadow" 

'  The  New  Moon" 

Naughty   Marietta 

William  HAINES 

Dance,   Fool,  Dane*" 

"Remofe  Control" 

"War  Norse" 

"Good  News" 

"The    Marry  Widow' 

"Trader  Horn" 

Whot   Music' 

and  many,  many  mora 

outstanding  productions. 

William  DeMille 
Jacques    Feyder 
Sidney   Franklin 
Nick    Grinde 
George    Hill 
Sammy    Lee 
Robert   Z     Leonard 
Edgar   J.  McGregor 
Fred    Niblo 
Horry   Pollard 
Chorles   Riesner 
Arthur    Robinson 
Wesley    Ruggles 
Mai  St     Clair 
Victor  Seaslrom 
Edward  Sedgwick 
W     S.    VonDyke 
King    Vidor 
Som    Wood 


SONGWRITERS 

Martin    Broones 
Dorothy  Fields 
Arthur  Freed 
Clifford  Grey 
Howard  Johnson 
Jimmy  McHugh 
Joseph  Meyers 
Reggie  Montgomery 
Herbert  Stothort 
Oscar    Straus 
George    Ward 
Harry    Woods 

WRITERS 

Stuart    Anthony 
Beatrice  Bonyard 
Alfred  Block 


Al  Boasberg 
A.  Paul  Mairker 

Branden 
Neil  Brandt 
Frank   Butler 
John  Colton 
Mitzie  Cummings 
Ruth  Cummings 
Edith   Ellis 
Joseph  Farnham 
Edith  Fitzgerald 
Martin    Flavin 
Becky  Gardiner 
Willis  Goldbeck 
Robert   Hopkins 
Cyril  Hume 
William  Hurlburt 
John  B    Hymer 
Marion  Jackson 
Laurence  E.  Jackson 
Earle  C    Kenton 
Hons    Kraly 
John    Lawson 
Philip  J.  Leddy 
Charles   MacArthur 
Williard    Mock 
Frances   Marion 
Gene    Morkey 
Sarah    Y     Mason 
Edwin  J.  Mayer 
John    Meehan 
Bess  Meredyth 
James  Montgomery 
Jack    Neville 
Lucille  Newmark 
Fred  Niblo,  Jr. 
J.  C    Nugent 
George  O'Hora 
Samuel    Omilz 
Arthur  Richmon 
W.    L     River 
Madeleine  Ruthven 
Don  Ryan 
Horry    Sauber 
Richard  E.  Schoyer 
Zelda    Sears 
Samuel  Shipmon 
Lawrence  Slallings 
Sylvia  Thalberg 
Wanda  Tuchock 
Jim  Tully 
Dale  Von  Every 
Cloudine  West 
Crane  Wilbur 
P    G.  Wodrhoute 
Miguel  de  Zorraba 


WYN-MA 

There  are  in  Heaven  " 


92 


Continued  from  page  67 


his  high  horse  and  sent  it  to  her ! 
She  tore  it  open,  only  to  find  that  it 
was  a  dummy  telegram,  saying, 
"Please  break  away  at  once.  You 
have  to  take  your  place  as  the  show  is 
going  to  start  immediately,"  and 
signed  Gallipolis. 

Somehow  she  got  away;  somehow 
she  sat  through  the  picture,  remem- 
bering how  she  had  worked,  hearing 
the  director's  voice  so  plainly  that  she 
wondered  why  the  film  didn't  stop 
after  each  scene  for  his  comments. 
Her  big  scene  went  rather  flat,  but 
there  was  a  lot  of  applause  for  a  bit 
that  had  barely  escaped  being  cut  out, 
because  nobody  in  the  studio  liked  it. 

It  was  over  at  last.  Tactfully  re- 
fusing Mr.  Gallipolis'  invitation  to 
supper,  she  hurried  away.  She 
wanted  nothing"  but  to  go  to  her  room 
at  the  hotel,  tie  a  towel  around  her 
head,  and  smear  cold  cream  on  her 
face.  It  ached  from  smiling  all  eve- 
ning. 

"If  I  have  to  do  this  often,  I'll 
die,"  she  told  Bunny,  as  the  door  of 
the  suite  slammed  behind  them.  "Be 
a  darling  and  telephone  downstairs 
for  some  food  while  I  undress,  will 
you?  Tell  'em  if  they  put  whipped 
cream  on  anything,  I'll  shoot  the 
waiter.  After  that  dinner  to-night, 
I  want  ham  and  eggs  and  tea." 

But  the  telephone  jangled  just  as 
she  was  slipping  into  a  bathrobe. 
Some  reporters  were  on  their  way  up 
to  see  Miss  Mayo.  Did  she  wish  to 
order  supper  for  them,  too? 

"Let  them  starve,"  urged  Bunny. 
"If  you  feed  'em,  you'll  have  to  pay 
the  bill.  I'm  going  to  get  into  bed 
with  a  sandwich  and  it  will  take  dy- 
namite to  get  me  out  again." 

"You'll  stay  right  here  and  play  up 
to  them  with  me,"  Monica  told  her 
determinedly.  "I  want  some  one  to 
throttle  me  if  I  begin  to  jabber." 

Three  young  men  of  the  press  ap- 
peared presently,  and  with  them  a 
slim,  clever-looking  girl,  who  scru- 
tinized Monica  skeptically.  Bunny 
took  one  look  at  them,  and  brought 
out  a  bottle  that  the  publicity  depart- 
ment had  sent  over  for  just  such  an 
emergency  when  Monica  left  Hol- 
lywood. Monica  sat  back  wearily 
waiting  for  them  to  ask  her  ques- 
tions. 

"Miss  Mayo's  delighted  to  see 
yon,"  Bunny  announced,  cheerfully, 
"but  she's  awfully  tired.  All  that 
excitement  at  the  theater,  you  know 
how " 

"How  does  it  feel  to  have  the  pub- 
lic at  your  feet?"  the  alert-looking 
girl   wanted   to  know. 

"They  aren't  at  my  feet,"  Monica 
replied  bluntly.  "I  don't  count  for  a 
thing.  It's  just  the  glamour  that 
hangs  over  all  picture  people  that 
interests  them." 


OTie  MoVie  Racket 

Bunny  was  making  frantic  signals 
at  her  from  a  corner,  but  she  paid 
no  attention. 

"I'm  not  Buddy  Rogers,  or  Clara 
Bow,  or  any  of  the  big  ones ;  but  be- 
cause I'm  in  the  movies  I'm  a  curi- 
osity, like  a  two-headed  calf,  or  a  set 
of  Siamese  twins." 

"Gee,  you're  refreshing !"  ejacu- 
lated one  of  the  men,  looking  up  from 
his  glass.  "What's  your  great  ambi- 
tion? To  play  Juliet  or  Monna 
Vanna?" 

"To  have  time  for  a  shampoo  when- 
ever I  want  one,  and  to  run  my  life 
to  suit  myself,"  Monica  retorted. 
"The  studio  dictates  to  me  about 
everything.  I  just  go  there  and  do 
what  I'm  told  as  well  as  I  can.  Right 
now,  I'd  like  to  go  to  bed  and  sleep 
twelve  hours,  but  I've  got  to  fly  back 
to  Hollywood  shortly  after  sunrise 
and  report  for  work  as  soon  as  I 
get  there." 

"The  publicity  department  will  go 
crazy  and  chew  the  woodwork  when 
they  read  what  you've  said,"  Bunny 
told  her  despairingly,  when  at  last 
the  newspaper  people  had  departed. 
"What  on  earth  was  the  matter  with 
you  ?" 

Monica  burst  into  tears  of  rage. 

"If  you  begin  finding  fault  with 
me,  I'll  give  up  and  go  home,"  she 
stormed.  "Those  people  would  have 
kidded  me,  no  matter  what  I  said. 
They  don't  care  anything  about  me, 
and  neither  does  any  one  else  but 
Danny,  and  sometimes  I  think  he 
doesn't." 

But  she  got  a  break  in  the  San 
Francisco  newspapers,  as  she  had 
with  every  one  else  these  last  few 
months.  They  hailed  her  as  an  ac- 
tress who  wasn't  trying  to  fool 
people,  and  her  mail  from  that  city 
was  doubled  as  a  result. 

Back  in  Hollywood,  she  found  that 
Booth  Carlisle  was  to  play  opposite 
her  in  her  next  picture,  which  was 
based  on  a  smart,  sophisticated  story 
in  which  she  played  everything  from 
a  girl  brought  up  on  an  island  in  the 
South  Seas  to  a  Parisian  night-club 
hostess.  She  had  to  learn  to  dance 
for  it,  which  meant  taking  a  lesson 
every  day  and  practicing  every  spare 
moment  in  between.  She  also  had 
to  sing,  and  accompany  herself  on 
the  piano.  She  was  thankful  for  the 
music  lessons  against  which  she  had 
rebelled  so  vehemently  as  a  child. 
But  when  it  came  to  singing,  she 
broke  down  and  wept. 

"I  can't  sing!"  she  cried.  "My 
voice  is  terrible." 

"It  isn't  bad  at  all.  When  you 
know  how  to  use  it,  you'll  be  all 
right,"  the  director  assured  her. 
"And  we  don't  dare  use  a  double 
for  you.  You  can  sort  of  talk  your 
songs,  you  know." 


Two  days  later  the  publicity  de- 
partment was  sending  out  stories  de- 
claring that  Monica  Mayo  had  as- 
tonished her  friends  by  developing  a 
beautiful  singing  voice,  and  Monica 
was  wretchedly  practicing  vocal  exer- 
cises whenever  she  wasn't  practicing 
dancing. 

The  one  bright  spot  in  her  life  was 
Danny.  Things  were  going  well  with 
him.  He'd  been  given  a  role  in  which 
he  played  the  young  brother  of  a 
friend  of  the  male  star,  and  as  the 
director  liked  his  work,  he  was  hop- 
ing that  it  would  develop  into  some- 
thing fairly  big. 

Somehow  she  struggled  through 
her  next  picture.  Life  was  compli- 
cated by  the  fact  that  she  had  made 
such  an  instantaneous  success.  She 
was  interviewed  on  the  set,  at  lunch- 
eon, at  dinner.  She  said  the  same 
things  over  and  over,  until  they 
popped  into  her  head  the  first  thing 
in  the  morning. 

"Yes,  I  love  my  work  in  pictures. 
It's  so  inspiring  to  work  in  this  stu- 
dio ;  we're  like  one  big  family."  "I'm 
so  grateful  to  the  people  everywhere 
who  have  helped  me  by  writing  let- 
ters filled  with  helpful  criticism  as 
well  as  encouragement ;  that's  the  real 
reason  I've  got  ahead  so  fast."  To 
herself  she  ejaculated,  "Bunk !"  at 
this  point.  She  knew  only  too  well 
that  she  had  broken  into  pictures  by 
accident,  and  had  succeeded  because 
she  had  had  a  series  of  lucky  breaks. 
There  were  so  many  other  girls  in 
Hollywood  who  were  as  pretty  as  she 
and  quite  as  talented.  Whenever  she 
passed  a  group  of  extras  she  won- 
dered how  it  happened  that  she 
wasn't  one  of  them. 

She  saw  very  little  of  Danny.  She 
was  always  trying  to  make  time  to 
see  him,  when  he  was  free.  Not  in- 
frequently she  stayed  at  home  ex- 
pecting him,  only  to  have  him  phone 
that  he  couldn't  get  away.  One  day 
when  an  important  movie  editor 
from  one  of  the  big  Eastern  news- 
papers was  to  see  her,  she  broke  the 
date,  without  explanation,  because 
Danny  had  suddenly  appeared  just  as 
she  was  leaving  the  hotel.  She  never 
again  got  a  favorable  review  in  that 
paper,  and  was  always  mentioned  as 
"The  very  temperamental  Miss 
Mayo."  But  she  didn't  care.  Noth- 
ing mattered  now  but  Danny.  He 
was  the  one  real  person  in  her  life, 
except  Bunny,  and  Bunny  was  so  in- 
terested in  Monica's  career  at  the 
expense  of  everything  else  that  she 
was  no  real  comfort  at  all. 

Monica  had  hardly  grown  used  to 
the  gilt  and  upholstered  splendor  of 
the  hotel,  when  the  studio  urged  her 
to  move.  It  would  be  more  digni- 
fied, they  maintained,  if  she  had  a 
Continued  on  page  94 


08 


CanTkis  Be  LoVe? 


Whether   Richard  Arlen  and  Jean  Arthur  believe   it  or  not, 

they    oblige    with    examples    of    various    moods    in    which    it 

occurs  on  the  screen. 


Mr.  Arlen  and  Miss  Arthur,  above,  lend  themselves 
to  the  pose  that  typifies  virile,  all-consuming  passion 
in  the  movies,  though  it  requires  considerable  ma- 
neuvering for  a  lady  to  lie  gracefully  in  a  gentleman's 
arms.  That  is,  unless  she  calculates  her  every  move- 
ment. 


The  scene,  above,  is  what  directors  delight 
in  terming  sophisticated  love.  That  is  to 
say.  the  gentleman  kisses  the  lady's  knuckles 
and  immediately  becomes  continental.  It  fol- 
lows as  a  matter  of  course  that  any  European 
who  isn't   a  peasant   must   be   sophisticated. 


r/[.7 


WT 


The  spirit  of  comedy  i-  supposed  to  flutter  over  Mi- 
Arthur   and    Mr.    Arlen,   above,    in   their   merry   love- 
making,  though  if  you  avk  us  we  think  the  gentleman's 
inti  i 


L'kul' ■'  illustrated,  left,  and  it'  com- 

mentary "ii  thi  |  the  instrument  to  prOfl 

clinch,    when   the    couple  d    with    making 

faces  at  each  other,  don't  you  think? 


94 

Continued  from  page  92 

house  of  her  own.     Reluctantly  she 

installed  herself  and  Bunny  in  one 
of  a  little  group  of  houses  facing  a 
garden.  It  wasn't  the  home  she 
wanted,  bul  no  house  would  be,  until 
she  and  Danny  had  one  of  their  own. 

Late  one  night   he  telephoned  her. 

"I've  got  great  news  for  you,"  he 
announced.  "Xo,  I  can't  tell  you 
now.  I  want  to  do  it  myself,  in  per- 
son, not  a  telephone  call.  When  can 
I  see  you?" 

"Oh — just  a  second.  Bunny,  what 
am  I  doing  to-morrow?"  Monica  de- 
manded. 

"Shampoo  and  wave  at  nine — mu- 
sic lesson  at  ten — dancing  lesson  at 
eleven " 

"Darling,  make  it  twelve  o'clock," 
Monica  told  him  hesitantly,  "unless 
you  can  come  at  eight  for  breakfast. 
Is  that  too  early  for  you  ?" 

"I'll  be  there  at  eight  sharp!"  he 
assured  her.  "Get  ready  now  to  cele- 
brate." 

.Monica  could  hardly  sleep,  tired  as 
she  was.  Surely  he  was  going  to  say 
that  things  were  going  right,  and  that 
they  could  be  married  immediately. 
She  began  to  plan  out  where  they 
could  go  for  two  or  three  days. 
Surely  the  studio  would  give  her  that 
much  time  for  a  honeymoon ! 

The  telephone  rang  at  seven  thirty 
the  next  morning. 

"Miss  Mayo?  This  is  the  studio." 
Monica  made  a  face  at  the  telephone. 
"We  want  you  to  come  down  to  the 
aviation  field  at  once.  There's  a  big 
Italian  tenor  arriving  to  make  a  pic- 
ture for  us,  and  we  want  you  to  be 
photographed  with  him." 

"I  won't  do  it !"  Monica  cried, 
furiously.  "I've  an  engagement — an 
important  one " 

"We'll  expect  you;  a  man's  on  the 
way  to  drive  you  down,"  said  the 
voice  at  the  other  end,  unimpressed 
by  her  rebellion.  A  sharp  click  told 
her  that  the  conversation  was  at  an 
end. 

Bunny  insisted  that  she  would  have 
to  go. 

"You're  not  so  important  that  you 
can  afford  to  refuse,"  she  declared,  as 
she  sauntered  out  the  door.  "Sorry  I 
can't  stay  to  welcome  Danny,  but  you 
can  leave  a  note  on  the  door  for  him. 
Leave  the  door  unlatched.  He  can 
wait  and  you  can  rush  back  and  see 
him  before  your  music  lesson." 

Ruefully  Monica  dressed  and  scrib- 
bled a  note  to  Danny. 

"Had  to  rush  away  for  a  publicity 
stunt — will  be  right  back.  Go  in  and 
wait,  please,"  she  wrote,  as  the  man 
who  had  come  for  her  urged  her  to 
greater  haste.  She  pinned  the  note 
on  the  door,  and  stumbled  through 
the  courtyard,  wishing  she  had  taken 
time  for  a  cup  of  coffee  hefore  she 
left. 


**TKe  MoVie  Racket 

The  tenor,  who  was  in  a  vile  tem- 
per because  he  had  been  kept  waiting, 
glanced  disparagingly  at  her  and  re- 
marked, in  a  loud  aside,  that  no 
woman  could  be  considered  beautiful 
unless  she  had  some  meat  on  her 
bones.  Monica,  not  to  be  outdone, 
informed  the  world  in  general  that 
she  never  had  fancied  men  who  used 
perfume.  They  glared  malevolently 
at  each  other,  until  they  took  their 
places  before  the  camera  and  the 
microphone. 

Then  the  tenor  exclaimed,  beaming 
down  at  her,  that  she  had  been  his 
favorite  cinema  star  for  years.  Con- 
sidering that  she  had  been  in  pictures 
less  than  twelve  months,  Monica  felt 
that  that  was  hardly  a  well-chosen 
remark.  So  she  retaliated  by  an- 
nouncing that  ever  since  she  was  a 
wee  kiddie  she  had  enjoyed  his  phono- 
graph records  above  all  the  other 
music.  As  he  had  recently  lopped 
twenty  years  off  his  age,  and  had  his 
face  lifted,  he  was  hardly  pleased. 

But  she  did  not  care.  She  leaped 
for  the  car  the  instant  the  camera 
stopped  clicking,  and  urged  the  driver 
to  hurry. 

Danny  was  not  in  the  bungalow. 
Instead  she  found  Booth  Carlisle 
strolling  about  the  living  room. 

"What  on  earth  are  you  doing  here 
at  this  house?"  she  demanded.  "And 
where's  Danny?" 

"Danny?"  he  repeated  whimsically, 
surprised.     "Danny  who?" 

"You  know  perfectly  well  who  I 
mean.  I  left  a  note  for  him,  telling 
him  to  wait  here  for  me.  Where  is 
he?" 

"I  haven't  the  faintest  idea,"  he 
replied  suavely.  "I  just  came  over 
to  suggest  that  we  go  over  that  big 
scene  of  ours.     I  thought " 

What  he  thought  she  did  not  wait 
to  hear.  She  rushed  out  of  the  door 
again,  and  drove  straight  to  Danny's 
house.  All  the  way  she  prayed  that 
she  would  find  him  in.  If  he  wasn't 
there,  if  he'd  gone  off  in  a  rage,  she 
might  never  be  able  to  make  him  un- 
derstand what  had  happened.  What 
had  Carlisle  said  to  him?  Oh,  why 
had  she  let  Bunny  persuade  her  not 
to  stay  at  home  and  wait  for  him? 

He  was  at  home,  pacing  the  floor. 
In  the  fireplace  smoldered  a  heap  of 
photographs  of  her. 

"Oh,  Danny  darling,"  she  ex- 
claimed, "why  didn't  you  wrait  for  me, 
as  I  asked  you  to  in  my  note?" 

"Note?  I  didn't  get  any  note.  I 
was  under  the  impression  that  I  was 
invited  to  breakfast  at  your  house 
early  this  morning.  And  when  I  got 
there,  you  were  gone.  At  least  Booth 
Carlisle  said  you  were  gone.  He  was 
there — and  he  seemed  very  much  at 
home." 

Danny  snapped  the  words  at  her 


in  a  cold  fury.    Giving  her  no  chance 
to  explain,  he  went  on. 

"He  didn't  seem  to  think  that  his 
presence  there  needed  any  explaining. 
Said  he  supposed  that  I  was  an  old 
friend  and  that  you  wanted  to  tell  me 
about  your  plans — your  plans  and  his 
— before  giving  an  announcement  to 
the  papers." 

So  many  words  leaped  to  Monica's 
lips  that  she  could  not  utter  any  of 
them.  She  stared  at  him  for  a  mo- 
ment, and  then  crumpled  up  at  his 
feet  in  a  dead  faint. 

When  she  came  to,  she  was  in 
Danny's  arms.  She  made  no  effort 
to  move,  but  closed  her  eyes  again 
and  snuggled  closer. 

"You  didn't  really  believe  what 
Booth  said,  did  you,  dear  ?"  she  asked 
weakly.  "Don't  you  know  that  there 
has  never  been  any  one  but  you?" 

"I  guess  I  went  crazy  for  a  while 
when  I  saw  him  there,"  he  answered. 
"Everything  seems  all  right  now.  I 
wanted  to  tell  you  that  I've  got  a 
fairly  good  break  at  last.  They're 
letting  me  have  a  big  part  in  the  next 
Billie  Dove  picture,  and  if  I'm  all 
right  in  that  they'll  draw  up  a  con- 
tract. I — I  thought  that  with  those 
prospects  we  might  get  married." 

"Danny!     To-day?" 

"If  you  will.  We  could  fly  to  Ne- 
vada and  have  it  done  right  away. 
No  sense  in  getting  a  license  and  hav- 
ing to  wait  three  days.  No  telling 
what  the  studio  would  think  up  to 
keep  you  from  meeting  me  at  the 
altar." 

It  wasn't  the  sort  of  wedding  Mon- 
ica had  expected  to  have.  She  was 
slightly  plane-sick,  and  her  knees 
trembled  as  she  took  her  stand  with 
Danny  before  a  justice  of  the  peace 
and  promised  to  love,  honor,  and 
obey. 

But  they  were  getting  married. 
She  would  have  gone  through  far 
more  discomfort  for  that.  When  he 
kissed  her,  as  the  ceremony  ended, 
she  hardly  knew  whether  to  laugh  or 
to  cry.  No  matter  what  happened 
now,  she  was  his  wife.  Nothing 
could  separate  them  now ! 

But  as  they  were  having  luncheon 
afterward  she  began  to  wonder  what 
was  going  to  happen  next.  The  stu- 
dio probably  wouldn't  be  enthusiastic 
over  her  marriage.  When  her  con- 
tract expired,  perhaps  the  option  on 
her  services  wouldn't  be  taken  up. 
After  all,  she  hadn't  been  in  pictures 
long.  Some  one  else  could  soon  be 
developed  into  as  much  of  a  draw  at 
the  box  office  as  she  was. 

She  said  nothing  to  Danny  of  her 
doubts.  If  she  was  through  in  pic- 
tures, all  right.  She  would  settle 
down  as  Danny's  wife,  as  Jobyna 
Ralston  had  settled  down  to  be  a  wife 
Continued  on  page  110 


! 


June  Civile,  above,  jam>  a  camera- 
man's cap  on  her  blond  hair  and  de- 
fies him  to  do  his   woi 

failure. 

en    Moon  ini- 

tiate   a    wharf    rat    while    gazing 
into  volume* 

in  her  library  of  haul 

icket 

around  t'  •  .11.  hut  ju-t  ask  her 

rk ! 


96 

Coiitimud  From  page  SO 
forget  the  previous  week's  play,  keep 
the  present  one  in  mind,  and  learn  the 
succeeding  one.  I  don't  think  any 
one  outside  the  theater,  particularly 
those  who  have  not  had  experience  in 
stock,  can  know  or  understand  what 
hard  work  it  is.  I  complained  to  the 
manager  that  I  was  being  underpaid 
for  my  sterling  services;  so  he  gen- 
erously raised  my  salary  to  thirty  dol- 
lars a  week. 

The  season  ended  and,  as  usual, 
found  me  penniless.  This  I  did  not 
mind  much,  because  if  I  had  had 
money  I  would  not  have  known  what 
to  do  with  it.  But  I  had  fallen  des- 
perately in  love,  so  that  I  was  be- 
tween the  devil  and  the  deep  blue  sea. 
I  did  not  have  enough  money  to  get 
married  on,  and  at  the  same  time  I 
did  not  have  enough  money  to  get 
back  to  New  York.  So  in  order  to 
be  close  to  Elsa,  I  went  to  work  on  a 
newspaper  selling  advertising.  It 
was  a  Jewish  newspaper,  the  Toledo 
Israelite.  Although  it  was  published 
only  twice  a  week,  I  turned  out  to  be 
a  star  salesman,  due  to  the  fact  that 
everybody  knew  me  on  account  of  my 
connection  with  the  theater  and  I  was 
admitted  wherever  I  called. 

After  three  weeks  the  manager  de- 
cided that  as  I  was  so  good  I  ought  to 
go  to  Detroit,  where  there  was  a 
much  larger  Jewish  population,  and 
a  much  bigger  paper.  So  I  went  to 
Detroit,  expecting  to  knock  them 
dead.  I  was  there  three  weeks  and 
did  not  sell  an  inch. 

I  came  back  very  disconsolate,  and 
got  a  job  selling  stocks  and  bonds  in 
Lima,  Ohio.  The  company  which 
sent  me  down  first  put  me  through  a 
school  in  the  office,  trying  to  teach  me 
the  difference  between  a  stock  and  a 
bond — I  must  confess  I  never  learned 
— and  sent  me  to  Lima. 

I  was  there  three  weeks.  The 
manager  of  the  office  drank  heavily, 
and  the  people  whom  he  represented 
felt  that  they  could  not  afford  to  have 
a  man  who  was  intoxicated  most  of 
the  time,  as  he  could  not  thus  ob- 
tain people's  confidence.  He  was 
fired  and  I  was  made  manager,  my 
salary  being  raised  from  eighteen  to 
twenty-five  dollars  a  week.  I  had  my 
own  office  and  my  own  stenographer. 
This  went  on  for  about  a  month. 
Lima  is  quite  an  oil  town,  and  a  great 
many  of  its  citizens  were  wealthy  and 
mostly  Irish.  Being  Scotch-Irish,  I 
had  a  grand  time.  T  knew  every  one  in 
town,  and  it  was  indeed  an  enjoyable 
experience,  but  I  couldn't  sell  a  bond. 

I  made  the  acquaintance  of  Ralph 
Porter  Mackenzie,  son  of  one  of  the 
most  influential  men  in  town,  who 
has  since  become  the  president  of  the 
Ohio  liar  Association. 

Another   month    went   by   and    the 


I  Stop  To  Look  Back 

people  operating  the  office  in  Toledo 
notified  me  that,  although  they 
thought  me  a  delightful  young  man, 
they  did  not  think  I  had  the  neces- 
sary qualifications  to  become  a  suc- 
ei  ssful  bond  salesman.  They  told  me 
to  close  the  office,  crate  the  furniture, 
and  come  home.  Again  I  returned  to 
Toledo,  with  just  enough  money  to 
last  a  week. 

While  in  the  Secor  Hotel,  the  pro- 
prietor informed  me  that  if  I  went 
to  Detroit  I  could  at  least  get  a  job 
at  five  dollars  a  day  in  the  Ford 
plant.  I  applied  to  the  same  man 
who  had  brought  me  back  to  Toledo, 
a  man  who  knew  Edsel  Ford.  He  had 
said  that  if  I  couldn't  get  anything 
to  do  in  Toledo,  and  did  not  want 
to  go  back  to  New  York,  he  would 
give  me  a  letter  of  introduction  to 
Mr.  Ford,  so  that  I  could  save  enough 
money  to  get  on  my  feet  again. 

I  obtained  this  letter  and  away  I 
started.  Of  course,  each  one  of  these 
excursions  was  undertaken  in  high 
hopes  that  eventually  I  would  save 
enough  money  to  marry  on.  I  clung 
to  the  notion  that  my  wife  should 
never  work  and  certainly  not  work  to 
support  me. 

I  arrived  in  Detroit  with  ninety 
cents.  The  place  I  thought  it  best 
to  go  to  was  the  Statler  Hotel,  and 
all  know  how  much  use  ninety  cents 
would  be  there.  I  knew  another  one, 
but  I  had  been  politely  asked  for  pay- 
ment in  advance. 

So  I  went  to  the  nearest  Catholic 
church,  inquired  for  the  priest,  and 
told  him  my  story,  seeking  thereby  to 
raise  ten  dollars.  I  do  not  think  that 
at  any  time  I  ever  felt  so — not  em- 
barrassed, but  futile.  Here  I  was 
seeking  assistance — young,  able-bod- 
ied, hearty — asking  for  a  loan  to  tide 
me  over.  At  any  rate  the  priest  was 
kind  and  generous,  and  also  knew  a 
family  near  the  factory  who,  if  I 
guaranteed  to  pay  them,  would  carry 
me  until  I  was  paid,  which  was  every 
two  weeks.  I  never  promised  any- 
thing more  faithfully  in  my  life. 

My  letter  did  not,  as  I  secretly 
wished  it  would,  obtain  for  me  the 
vice  presidency -of  the  Ford  Com- 
pany, but  it  did  enable  me  to  gain 
admittance  to  the  employment  man- 
ager ahead  of  some  two  thousand 
men  who  were  waiting  in  line.  After 
undergoing  a  physical  and  a  mental 
test  which  was  quite  severe,  I  was  in- 
formed that  position  76  in  the  gen- 
erator department  was  vacant,  and 
that  I  could  have  it.  Whereupon  an- 
other uniformed  man  took  me  through 
the  factory  and  up  the  stairs — em- 
ployees are  not  allowed  to  use  the 
elevators — to  a  room  which  resem- 
bled what  the  Western  Front  must 
have  sounded  like  during  the  war. 


The  next  morning  at  eight  I 
showed  up  for  work.  My  job  was 
to  go  round  and  pick  up  from  some 
ten  or  fifteen  milling  machines  the 
generator  heads,  and  bring  them  to 
the  driller  who  drilled  three  holes. 
Then  I  had  to  take  them  to  another 
man,  who  countersunk  the  holes  so 
that  the  heads  of  the  screws  fitted 
flush  with  the  generator  heads,  which 
weighed  about  a  pound  apiece.  They 
arrived  in  our  department  from  the 
foundry,  and  were  milled  and  ground 
down  to  the  proper  thickness. 

The  house  I  lived  in  in  Highland 
Park  was  always  a  source  of  amuse- 
ment to  me.  As  soon  as  work  was 
over  I  would  hurry  home,  a  fifteen- 
minute  walk,  and  without  washing 
face  or  hands,  or  for  that  matter, 
bothering  to  remove  my  hat,  would 
sit  at  the  table,  grab  and  defend  the 
food  that  was  placed  before  me.  If 
one  didn't  do  this  it  was  literally 
taken  from  one's  place  by  the  twelve 
other  gorillas.  After  dinner,  and 
only  then,  one  cleaned  up. 

By  some  slip  of  the  tongue,  it  leaked 
out  after  a  couple  of  weeks  that  I 
was  an  actor.  You  can't  imagine 
the  astonishment  registered  by  the 
various  members  of  the  household. 

The  noise  in  the  factory  was  ter- 
rific, and  I  found  that  it  was  injuring 
my  ears.  After  about  a  month  or 
six  weeks  I  was  unable  to  hear  a 
thing,  until  three  hours  after  the  com- 
pletion of  a  day's  work.  In  addition 
the  constant  soaking  in  strong  soda 
water  had  so  swollen  and  reddened 
my  hands  that  they  were  a  sight.  I 
stood  it  as  long  as  I  could,  which  was 
eleven  weeks,  and  then  gave  in  my 
notice.  I  found,  however,  that  it  is 
as  hard  to  get  out  of  Ford's  as  it 
is  to  get  in,  because  of  the  number 
of  explanations  one  has  to  offer. 
They  offered  to  raise  my  pay  and  to 
give  me  my  boss'  job.  But  I  had  to 
give  up,  for  not  only  were  my  ears 
affected  but  my  spirits  were  crushed. 
So  I  collected  my  last  sixty  dollars 
and  went  back  to  Toledo. 

Another  thing  about  Detroit  which 
I  shall  never  forget  is  Miss  Jessie 
Bonstelle.  After  working  about 
three  weeks  at  the  factory  I  went  to 
see  Miss  Bonstelle  at  her  theater, 
where  she  was  a  preeminent  success 
as  a  stock  director  and  star.  As  I 
had  worked  under  her  direction  in 
"The  Ruined  Lady,"  I  thought  pos- 
sibly she  might  have  an  opening  for 
me.  So  one  afternoon  without  both- 
ering to  eat,  I  hurried  down  to  the 
theater  to  catch  her  after  the  matinee. 
She  was  very  gracious  and  received 
me  in  her  dressing  room.  She  asked 
if  I  had  had  dinner  to  which  I  an- 
swered no.  "Well,  possibly,  you 
Continued  on  page  115 


T\tfo  of  a  Kind 

Although  quite  different  in  many  respects,  Anita  Page  and 
Gwen  Lee  are  one  as  to  blondness  and  a  day's  play. 


"7 


The  day  begins  with  a  spin  in  a  snappy 
little  roadster,  and  we  arc  told  quite  seri- 
ously that  the  bright  blue  of  the  car  is 
matched  by  the  girls'  clothes,  but  who 
would  notice  the  auto  that  carries  these 
two? 


Capping  what  society  reporters 
used  to  call   the  dizzy  routl 
pleasure,   our   «irls   traipse 
a    dance    at    the    Emb 
Miss  Lee  accentuates  her  blond- 
ness  by    wearing   apricot    chiffon 
Miss  Page  wears  a  black  net  frock. 

What  would  a  day's  photographing  be 
without  a  couple  of  blondes  in  shorts  for 
tennis?      Here   they   arc.    folks, 

hands  before  the  big  battle,  which  we 
bet  will  never  take  pla 


The  day  is  never  too  busy  for  a 
at  a  beach  club  and  a   sun  bath  after- 
ward, and  for  the  occasion  ' 
Anita,     below,     wear     tl  ■  It     in 

swimming 


Gwen  and  Anita  dress  for 
golf  as  above,  and  shall  we 
go  on  and  say  something 
about  their  being  a  nifty 
-me? 


98 

Continued  from  page  73 
A  Lovable  Bandit. 

"The  Arizona  Kid"  succeeds  as  a 
conscientious  stencil  of  "In  Old  Ari- 
zona." No  one  should  be  blamed,  be- 
cause all  labor  to  recapture  the  SUC- 
of  the  earlier  picture  which 
made  us  enthusiastic  over  Warner 
ter  and  won  for  him  the  golden 
award  of  the  Academy  of  Motion 
Picture  Arts  and  Sciences.  So  we 
have  in  the  new  film  a  harmless  imi- 
tation of  the  old.  True,  we  might 
have  been  trusted  to  remember  the 
former  just  as  fondly,  if  a  little  more 
originality  had  been  permitted  to 
creep  into  the  latter.  But  some  one 
thought  we  wouldn't  remember. 

Be  that  as  it  may,  "The  Arizona 
Kid"  is  all  right,  but  it  can't  stir  me 
to  rhapsody  because  I've  seen  it  be- 
fore, or  at  least  its  component  parts. 
The  likable  bandit,  his  faithful  sweet- 
heart, the  villain  and  his  beautiful 
blond  decoy  who,  for  the  sake  of  cen- 
sorship, is  called  his  wife,  though  we 
know  she  isn't  made  for  a  wedding 
ring.  The  bandit  is  accused  of  mur- 
der in  a  gold  mine.  And — though  I 
couldn't  believe  my  eyes  and  ears — 
he  discovers  the  villain's  cuff  button 
at  the  scene  of  the  murder. 

Please,  summer  is  coming  on,  so 
you  must  excuse  me  from  detailing 
the  scenario  of  this  kindergarten  les- 
son in  story  telling.  Enough  to  say 
that  it  is  tolerably  exciting,  due  to 
skill  in  making  it  seem  so,  and  it  is 
admirably  acted.  Mr.  Baxter,  all 
curls  and  flashing  teeth,  is  The  Cisco 
Kid  all  over  again,  and  that's  saying 
lots.  Mona  Maris  is  capable  as  his 
sweetheart,  and  Theodor  von  Eltz 
and  Carol  Lombard  are  the  deep- 
dyed  deceivers.  The  picture  has 
much  atmosphere,  considerable  move- 
ment and  it  takes  place  entirely  in  the 
open. 

All  at  Sea. 

"The  Ship  From  Shanghai"  carries 
a  supercargo  of  ranting  by  a  cast  that 
probably  rebelled  inwardly  while  it 
took  orders.  Life  is  like  that  for  ac- 
tors. But  they  are  judged  by  results, 
not  by  what  might  have  been.  So  it 
is  that  Kay  Johnson,  Louis  Wolheim, 
Conrad  Nagel,  and  Carmel  Myers — 
all  nice  people,  you  know — are  quite 
dreadful  on  shipboard.  Or  on  this 
ship,  at  least,  where  all  the  action 
takes  place.  One  finds  them,  a  group 
of  wealthy  idlers  in  China,  where 
Holmes  Herbert  charters  a  yacht  for 
the  voyage  home.  The  steward  is  a 
socialist,  or  is  otherwise  at  odds  with 
his  job,  and  finally  takes  command  of 
the  ship,  reducing  his  superiors  to 
starving,  thirsty,  frightened  prison- 
ers. His  eye  is,  of  course,  on  the 
leading  lady.  Miss  Johnson,  and  it  is 
wholly  unnecessary  to  say  that  his 
aspirations  center  on  her  person.    To 


The  Screen  In  ReViev? 

spare  Mr.  Nagel  the  steward's  threat- 
ened punishment,  Miss  Johnson  fal- 
ters to  his  cabin  with  the  step  of  Joan 
of  Arc  approaching  the  stake.  Sup- 
per is  laid  for  two  and  the  steward  is 
even  then  opening  a  tin  of  pressed 
ham.  Why  food  is  always  provided 
as  prelude  to  a  fate  worse  than  death 
I  cannot  say.  At  any  rate,  just  when 
the  steward  is  about  to  gain  his  ends, 
Miss  Johnson  shrieks,  "Why,  you're 
mad  !  mad  !  mad  !"  This  so  demor- 
alizes the  villain  that  he  breaks  down, 
smashes  a  mirror,  and  leaps  over- 
board into  the  embrace  of  a  shark! 

Mr.  Wrolheim  is  the  mutinous  stew- 
ard and  you  can't  tell  me  he  didn't 
welcome  the  end  of  the  picture. 

Unredeemed. 

The  reappearance  of  John  Gilbert 
on  the  talking  screen  is  sure  to  revive 
comment  occasioned  by  his  debut  in 
"His  Glorious  Night."  It  is  unfor- 
tunate that  "Redemption"  should  just 
now  be  released,  for  it  was  filmed 
before  its  inglorious  successor.  And 
however  the  quality  of  mercy  be 
strained,  the  picture  cannot  redound 
to  Mr.  Gilbert's  credit.  It  is  dull, 
old-fashioned,  superficial.  The  phi- 
losophy and  analysis  of  character 
found  in  Tolstoi's  "Living  Corpse," 
on  which  the  picture  is  based,  are  as 
completely  missing  as  if  the  original 
were  nonexistent.  The  skeleton  that 
remains  is  stripped  of  what  justified 
the  choice  of  this  subject  as  a  picture 
for  Mr.  Gilbert.  Judged  by  silent 
standards,  his  performance  is  not 
among  his  good  ones.  The  character 
is  hardly  comprehensible  to  any  one 
who  has  not  read  the  novel,  and  it 
is  entirely  without  sympathy.  There 
is  nothing  to  endear  Fedya  to  those 
who  meet  him  for  the  first  time.  He 
falls  in  love  with  the  fiancee  of  his 
friend,  marries  her  and  continues  his 
life  of  wealthy  vagabondage.  Tor- 
tured by  conscience  and  his  failure 
to  realize  his  better  nature,  he  feigns 
suicide  so  that  his  wife  can  marry 
his  friend.  His  deceit  eventually  dis- 
covered, Fedya  is  arrested. 

Quite  enough  has  been  said  of  Mr. 
Gilbert's  speech  to  make  further  men- 
tion superfluous.  Eleanor  Board- 
man's  voice,  heard  for  the  first  time, 
is  smoothly  expressive,  and  Renee 
Adoree  likewise  reveals  no  loss  of 
power  and  charm  through  audibility. 

Love  Among  Crooks. 
An  excellent  crook  picture  is 
"Double  Cross  Roads,"  finely  acted 
by  Lila  Lee,  Robert  Ames,  Montagu 
Love,  Ned  Sparks,  and  Edythe  Chap- 
man. It  comes  rather  late  in  the 
procession  of  similar  films,  however, 
missing,  for  this  reason,  the  appeal 
it   would   otherwise  have.     But  it  is 


possible  that  you  have  not  seen  as 
many  romances  among  criminals  as 
your  reviewer  has.  Even  so,  he  is 
conscious  that  here  is  a  carefully  com- 
posed film,  gripping,  sympathetic, 
with  suspense  nicely  sustained.  It 
begins  with  a  young  convict  finish- 
ing his  sentence  and  being  directed  to 
a  quiet  place  in  the  country,  where 
he  will  be  kindly  received  by  an  old 
woman  and  no  questions  asked.  It 
is  only  natural  that  he  should  fall  in 
love  with  her  granddaughter,  who  is 
charmingly  portrayed  by  Lila  Lee. 
But  the  ex-convict,  more  than  ever 
determined  to  reform,  is  traced  by 
Montagu  Love,  as  a  master  crook, 
who  insists  that  he  lend  his  skill  to 
the  usual  "last  job."  Then  comes  the 
astonishing  revelation  that  the  women 
are  decoys  "planted"  by  Mr.  Love. 
It  isn't  fair  to  tell  what  ensues,  be- 
cause a  genuinely  exciting  climax  is 
evolved  from  this  conflict.  Carefully 
produced  and  intelligent  throughout, 
many  a  picture  with  greater  preten- 
sions has  fallen  short  of  providing 
the  entertainment  that  this  one  does. 
I  enjoyed  seeing  Charlotte  Walker 
again,  as  a  bona  fide  society  woman, 
and  hearing  her  speak,  too. 

Dixie  Dugan  Again. 

Come,  give  the  little  girl  a  hand! 
Alice  White  makes  good  in  "Show 
Girl  in  Hollywood,"  giving  a  per- 
formance that  is  not  only  pert  and 
attractive,  but  reveals  depth  as  well. 
It  is  easily  the  best  thing  she  has 
done,  and  there  is  every  reason  to 
give  her  credit  for  her  artistic  step 
forward. 

Miss  White  is  aided  by  a  very  good 
picture  even  as  the  greatest,  most 
serious  star  is.  Purporting  to  be  a 
sequel  to  "Show  Girl,"  it  takes  Dixie 
Dugan  to  the  movie  capital  on  the 
promise  of  a  director  to  give  her  the 
lead  in  his  picture.  But  alas,  even 
the  shrewd,  wise-cracking  Dixie  can 
be  misled  like  the  veriest  ingenue. 
In  her  extremity  she  wires  Jimmy 
Doyle,  her  favorite  reporter  who  has 
written  a  play,  and  he  comes  to  Hol- 
lywood to  save  her  from  the  clutches 
of  the  director,  a  role  splendidly 
played  by  John  Miljan. 

There's  much  more  to  Dixie's  ad- 
ventures than  this,  and  far  greater 
seriousness  than  is  usually  found  in 
Miss  White's  stories.  For  one  thing, 
Dixie  goes  haywire,  there  is  an  at- 
tempted suicide  by  a  passe  star  in  her 
frustrated  comeback,  and  just  lots 
else. 

The  picture  is  genuinely  diverting, 
not  the  least  coming  from  the  se- 
quences which  show  studio  activity. 
Jack  Mulhall  is  a  capable  Jimmy  and 
Blanche  Sweet  is  fine  as  the  ex-star 
with  a  broken  heart. 


0') 


Celestial  Strains 

They  come  from  lovely  hands  as  they  wander  over  strings 
as  responsive  as  the  hearts  of  fans. 


Corinne  Griffith,  above,  may  almost  be 
said  to  have  the  exclusive  right  to  the 
harp,  since  she  made  such  gracious 
and  appealing  use  of  it  in  "The  Divine 
Lady."  her  most  memorable  film. 


Rillie  Dove,  right, 
her  eyes  upward  a>  she 
waits    heavenly    .-.trains 
to  the  angels  who  have 
an  eye  on  her  happiness. 


Ann     Harding,     below, 
S   a   lyre   with   the 
poetic  ease  of  a  Sappho 
about   to   broadcast    im- 
mortal stanzas. 


Dorothy  Jordan,  left, 
whose  reposeful  beauty 
lends  itself  to  the  most 
dignified  of  all  musical 
instruments,  obliges  with 
a  chord  or  two  in  "In 
Gav  Madrid." 


Alice  White,  right,  not  to 
be  outdone  by  the  flowing 
skirts    of    the    gifted 
terhood     on     I 
■hom  how  to  injci 
into  a  pastime  that  i 
tircly  '  il  for  her. 


100 

Continued  from  page  43 
father  was  a  dentist,  and  his  mother 
is  a  good  and  patient  woman  whose 
chief  interests  in  life  are  her  children 
and  her  church.  Yet  Ramon  radiates 
an  aura  that  would  grace  a  descend- 
ant of  the  Titans.  Although  he  has 
lived  most  of  his  life  in  intimate 
family  domesticity,  one  never  thinks 
lim  as  being  domestic,  lie  is 
thought  cf  as  a  product  of  some  an- 
cient, highly  civilized  race  quite  un- 
like the  present  generation. 

The  worst  thing  he  could  do  to  his 
fans  would  he  to  marry.  Ramon  is  a 
symbol  of  gay  young  romance,  and 
would  seem  strangely  out  of  place  as 
a  husband,  still  more  so  as  a  father. 
Yet  how  stupid  it  is  for  us  to  deny 
him  the  rights  of  a  normal  man ! 
Shall  we,  in  the  words  of  Wilde, 
"Kill  the  thing  we  love"? 

For  all  his  bachelorhood,  Ramon 
has  been  the  sole  support  of  his  fam- 
ily for  years.  Three  generations  of 
relatives  live  in  his  home.  Many  a 
time  he  must  have  picked  up  his 
small  brothers  and  sisters  and  played 
with  them ;  many  a  time  he  must 
have  become  involved  in  fiery  fam- 
ily disputes.  Not  domestic  ?  No,  not 
very! 

And  because  he  is  only  human,  not 
all  the  loyalty  of  his  fans  can  pro- 
tect him  from  the  jagged  prongs  of 
anguish  that  rend  all  mortals.     Pov- 


What  Is  His  Mystic  Povter? 

erty,  disappointment,  hearthreak — he 
has  known  them  all.  His  aging  father 
never  sees  his  famous  son,  either  on 
the  screen  or  in  person,  for  he  is 
blind.  Three  of  his  sisters  are  lost 
to  him,  for  they  are  nuns.  About  a 
year  ago  a  brother,  Ramon's  particu- 
lar chum,  a  strikingly  handsome  lad, 
died,  leaving  the  family  desolate. 
Tragedies  great  and  small  have  fallen 
to  his  lot,  while  mental  and  physical 
toil  are  his,  daily  companions.  These 
trials  are  what  have  helped  to  develop 
a  naturally  fine  character  and  create 
a  man  whom  thousands  attempt  to 
emulate. 

In  spite  of  all  his  responsibilities 
and  his  many  dependents,  we  have 
never  read  a  sob  story  about  him — 
unless  this  turns  out  to  be  one !  He 
shoulders  his  burdens  like  a  true 
soldier  of  life  and  asks  no  quarter 
of  any  one. 

There  comes  to  mind  the  case  of  a 
really  brilliant  actor  whose  career  has 
been  seriously  impaired  by  trashy 
publicity  and  "true  confessions."  His 
divorces,  marriages,  love  affairs,  fi- 
nancial difficulties,  and  what  not,  are 
forever  before  the  public.  One  gets 
the  impression  that  he  is  looking  for 
sympathy,  though  why  that  should 
be  expected  is  not  clear.  Certainly 
he  has  had  a  far  easier  life  than  No- 
varro,  who  came  to  this  country  with- 


out even  knowing  English.  Needless 
to  say,  this  actor  has  never  inspired 
any  one  to  learn  a  language,  or  culti- 
vate the  arts.  Not,  of  course,  that  he 
is  expected  to,  but  I  am  merely  point- 
ing out  the  difference  in  men. 

Novarro  holds  a  tremendous  public 
trust.  It  is  not  fair  to  proclaim 
mere  mortal  a  god  and  expect  him  to 
live  up  to  such  an  exalted  state,  yet 
that  is  what  the  fans  have  done. 
This  responsibility  was  laid  upon  him 
without  his  knowledge  or  consent. 
Groping  humanity  forever  seeks  an 
ideal  and,  by  the  mutual  acclaim  of 
a  multitude  of  fans,  this  youth  of  a 
turbulent,  picturesque  country  was 
chosen.  Superficial  barriers,  such  as 
race  and  religion,  have  been  swept 
aside,  and  the  matter-of-fact  Anglo- 
Saxon,  or  the  searching  agnostic,  sees 
in  Ramon  fully  as  much  to  admire  as 
does  the  ardent  Catholic  or  fellow 
Latin. 

And  because  he  has  been  intrusted 
with  the  love  and  respect  of  millions, 
it  is  his  ineluctable  duty  never  to  be- 
tray their  faith.  Not  that  he  will,  to 
be  sure,  but  to  do  so  would  be  an 
act  of  colossal  dishonor. 

If  this  seems  unfair  and  unreason- 
able, I  can  only  answer  with  Novar- 
ro's  own  pet  expression  of  implacable 
fate,    "kismet." 


Continued  from  page  65 
things  were  dull  for  her  on  the  stage 
in  New  York,  for  example,  she  sold 
automobiles.  She  is  the  sister  of 
Helen  Menken,  whose  fGotlight  ca- 
reer has  been  brilliant,  and  she  plans 
to  have  Helen  visit  her  this  summer. 
Bert  is  to  play  in  "Brothers"  for 
the  screen.  A  welcome-home  party 
for  Bert  and  his  bride  was  given  by 
Edwin  Carewe,  the  director,  and  his 
beautiful  wife  Mary  Akin. 

Bebe   Chooses  June. 

Just  about  the  time  that  people 
were  beginning  to  think  that  possibly 
Bebe  Daniels  and  Ben  Lyon  were 
never  to  get  married,  they  set  the 
date.  Their  wedding  was  scheduled 
for  June  14th,  to  be  preceded  by  a 
Miies  of  parties  and  showers  for 
Bebe. 

Two  hundred  guests  were  invited 
to  the  ceremony,  and  to  the  reception 
for  the  bride  and  groom. 

The  bridesmaids  included  Marion 
Davies,  Lila  Lee.  Betty  Compson, 
Constance  Talmadge,  Marie  Mos- 
quini,  Adela  Rogers  Hyland,  Diana 
Fitzmaurice,  and  Mae  Sunday.  Ben's 
man  was  Hal  Howe,  and  the 
ushers  were  I  fenry  Hobart,  George 
Fitzmaurice,    Sam    Hardy,    Richard 


Hollywood  Higk  Ligkts 

Gallagher,  and  others.  Ben's  two 
sisters  were  present. 

We  can't  give  all  the  personal 
glimpses  of  the  wedding  we  would 
like  to  at  this  writing,  but  will  re- 
member to  do  so  next  month. 

The  June  and  near  June  marital 
epidemic  was  of  slimmer  proportions 
this  year.  We  noted  Kenneth  Har- 
lan and  Dories  Hilda  Booth,  and 
Dorothy  Dwan  and  P.  N.  Boggs,  on 
the  schedule,  while  Natalie  Moorhead 
plans  to  marry  Alan  Crosland,  the 
director,  in  July.  Maybe  some  un- 
expected elopements  will  help  out  the 
total  before  the  bridal  season  is  over. 

A   Dual  Transformation. 

Here's  another  "what's  in  a  name" 
incident — Blanche  Mehaffey  has 
changed  the  color  of  her  hair  from 
red  to  blond,  and  by  personal  choice 
has  become  Jean  Alden. 

She's  one  of  the  few  girls  to 
achieve  both  hair  and  moniker  transi- 
tions simultaneously. 

Short  and  Long  of  It. 
"Bh"  has  signed  with  Paramount. 
"Bh"  is  Buddy  Rogers'  brother,  and 
we  are  happy  to  announce  the  com- 
pany is  going  to  change  his  name.    It 


was  just  a  "temporary  title,"  so  his 
parents  said,  and  they  therefore  don't 
mind  the  rechristenirjg. 

We  find  many  new  names  perplex- 
ing. For  example,  a  lyric  writer  at 
one  of  the  studios  is  called  Bruno 
Granichstaechen.  Need  anything  fur- 
ther be  said? 

Our  Foreign  Friends. 

"What  good  is  it  to  learn  Eng- 
lish?" wails  Lena  Malena.  And 
with  reason.  What  girl  wouldn't  who 
came  from  abroad,  and  spent  months 
studying  the  language  of  America, 
and  then  didn't  have  any  better  for- 
tune than  to  be  cast  in  a  German 
role.  It  is  a  good  role,  anyway,  in 
"Monsieur  le  Fox,"  filmed  in  five 
languages. 

Antonio  Moreno,  long  a  reigning 
silent  favorite,  is  another  case  in 
point.  He  is  being  shunted  off  into 
Spanish  versions.  Olga  Baclanova  is 
back  in  the  running,  doing  an  ac- 
cented part  in  "Are  You  There?" 
starring  Beatrice  Lillie. 

Polly's  Days  Off. 
"Just  a  little  interlude  in  my  busy 
life  as  a  comedienne — that's  what  my 
Continued  on  page  115 


Continued   from  page  61 

not  the  combined  power  oi  self-as- 
sertion and  physical  magnetism  re- 
quired to  make  the  artistic  success.  .. 
powerful  personal  one,  apart  from 
every  other  consideration. 

\\  omen  have  meant  a  great  deal 
to  yon,  and  yon  to  them,  because 
you  understand  them  as  few  men 
"do.  Von  look  at  them  from  two 
one  of  universal  insight 
and  one  of  imagination.  Between 
these  two.  they  feel  happy  and 
comforted  in  youi  presence.  You  do 
not  demand,  you  give.  Your  hap- 
piest period,  as  far  as  love  was  con- 
cerned, was  between  twenty-one  and 
twenty- live,  and  your  worst  one  was 
between  twenty-eight  and  thirty-one. 

Even  as  a  little  boy  not  three  years 
old.  you  were  somewhat  delicate,  con- 
fiding, gentle.  Yon  were  not  the  kind 
of  baby  who  kicks  and  screams  for 
the  satisfaction  of  annoying  his 
mother !  When  yon  were  four  or 
five  yon  suffered  from  an  illness  of 
the  chest,  but  by  the  time  you  were 
::.  you  were  an  independent,  ac- 
tive boy,  warm-hearted,  generous, 
full  of  fire  and  activity.  Your  sur- 
roundings were  better  off,  financially, 
when  you  were  ten  than  they  had 
been  before,  but  this  did  not  last 
long,  since  at  about  fourteen  you  had 
a  great  deal  of  depression  and  diffi- 
culty and  a  very  bad  time  with  an- 
other illness.  Of  what  you  endured 
from  fifteen  to  twenty-one,  the  less 
said  the  better,  so  far  as  happiness 
and  success  were  concerned,  for  the 
bottom  dropped  out,  in  health,  wealth, 
and  love,  and  your  ardent,  imagina- 
tive, intuitive  nature  suffered  tor- 
tures, largely  because  the  deceit  that 
you  had  to  deal  with  sickened  a  boy 
with  your  intense  feeling  for  truth. 

Now  you  were  grown  up,  spiritu- 
ally as  well  as  physically.  You  had 
learned  to  understand  life  as  a  source 
of    valuable    experience,    no    matter 


The  Mastery   Of  Your  Name 
what  you  might  have  to  endure  in  the 

gaining  oi  it.  Von  were  at  tins  time, 
at  about  twenty-two,  precipitated  into 
art  and  love,  and  you  ached  to  c\- 
presa  what  you  felt  was  in  you.  You 
put  your  whole  heart  into  everything 
you  did,  with  real  creative  power  be- 
hind it.  ami  continued,  with  more  suc- 

-  than  you  have  had  since,  until 
you  were  twenty-eight  or  twenty- 
nine.  That  power  of  creation  is  still 
yours,  hut  for  the  past  eight  years 
the  determination,  the  happy  expres- 
sion, the  result  are  not,  ami  between 
twenty-eight  and  thirty-one  you  were 
as  low,  or  lower  even  than  at  twenty. 

Right  now,  dear  Richard,  vou  are 
in  a  period  of  transition  from  which 
you  must  draw  one  oi  two  things — 
either  the  willingness  to  let  things 
slide,  which  will  pull  you  a  little  lower 
each  year,  or  the  tierce  determination 
to  express  that  spiritual  power,  that 
real  mastership  that  you  possess  in 
the  spirit  and  that  you  can.  by  serious 
application  and  the  true  evaluation  of 
your  powers,  apply  to  material  things. 
Both  paths,  as  I  have  told  you,  are  to 
be  found  in  Number  One,  for  refus- 
ing to  worry  can  be  very  good  or 
very  bad,  and  the  closer  you  approach 
to  forty,  the  more  clear-cut  the  issue 
will  be. 

In  two  years  you  will  leave  the 
period  of  great  mental  activity  in 
which  you  are  now,  and  return  to  the 
active,  positive,  exuberant  imagina- 
tion that  seems  to  have  deserted  you 
for  many  years.  Your  intuition  will 
be  very  strong  indeed,  and  there  is 
great  success  and  spiritual  satisfac- 
tion for  you,  if  you  follow  the  dic- 
tates of  that  inner  voice  closely,  no 
matter  what  that  analytical,  logical, 
intellectual  mind  of  yours  may  say. 
From  then  on  you  have  before  you, 
if  you  choose  to  make  them  so,  the 
twenty  most  successful  years  of  your 
life.     You  will  he  independent,  crea- 


101 

tive,  satisfied.  I  do  nut  it}  happy, 
Not  because  you  will  not  have  reason 
for  happiness,  hut  because  your  own 
heart  will  never  cease  struggling  be 
tween  doubt  ami  certainty.  Between 
fifty-three    and    lift  iu    will 

come  into  a  good  deal  of  nioin\  quite 
unexpectedly.  1  admit  that  soon 
after  that   you  will   have  to  put    it   in 

a  good,  solid  bank,  if  you  hope  to 

keep  it,  hut  it   is   just  as  well  to  know 

that  beforehand,  isn't  it? 

Be  yourself,  no  matter  what  hap- 
pens. Yours  is  a  dual  nature,  aching 
for  expression,  and  yet  full  of  re- 
straint. You  are  not  meant  to  reach 
out  into  an  audience  and  project  your 
personality  over  a  great  field,  hut  to 
draw  one  single  appreciative  reader 
at  a  time  quietly  to  you,  so  that  he 
can  enjoy  what  you  are.  what  your 
artistic,  imaginative,  half-unwilling 
mess  has  to  offer,  and  he  one. 
for  a  time,  with  a  greater  spiritual 
realization   than   his   own. 

Do  not.  with  this  restraint  of  \ours, 
be  frightened  at  your  own  coming  ex- 
pressiveness within  certain  lines. 
That  part  of  your  name  that  you  are 
coming  into  now  will  give  you  greater 
force  and  determination  than  you 
have  ever  known,  and  you  will  sur- 
prise yourself  more  than  once.  You 
have  great  possibilities,  if  you  will 
only  admit  them  and  not  be  afraid  of 
the  changes  they  are  hound  to  bring. 
Xo  man  with  your  wonderful  realiza- 
tion of  life,  your  sensibility,  your  fine 
expressiveness,  has  any  right  to  bind 
himself  within  the  narrow  limit 
one  line  of  work  when  he  finds  that  it 
does  not  offer  him  a  full  outlet  for 
his  powers.  Place  the  real  light 
within  you  where  others  can  see  it. 
You  will  be  helping  to  light  the 
world.  You  have  tried  over  and 
over  again  to  be  bold,  and  have  been 
a  bit  stubborn.  Now  you  can  be 
hold,  if  you  will  be  free. 


Tke  MvsterV  Of  Your  Name 

Continued  from  page  60  *  ^  * 

I  have  also   noticed,   over  and   over     as   mere    attractions,    periods    during 
again,  that  the  full  name  after  mar-     which  boys  and  girls  are  attracted  to 

each  other  with  no  sense  of  perma 


riage  may  hardly  differ  in  its  total 
vibrations  from  the  one  that  was 
borne  before,  for  the  emphasis  of 
one  characteristic  has  merely  been 
shifted  from  the  spiritual  to  the  ma- 
terial side,  or  the  total  for  the  whole 
name  has  become  the  same  as  the 
former  total  at  birth.  Once  in 
haps  five  thousand,  ten  thousand, 
times  a  miracle  occurs,  and  names  are 
so  combined  that  the  bride  and  the 
groom  have  identical  totals  both  be- 
fore and  after.  They  were  it 
made  for  each  other  from  the  be- 
ginning of  the  world. 

•  affairs  show  in  a  name  even 


nent  or  really  personal  attachment. 
Boy  friends  and  girl  friends  come 
and  go  without  making  any  serious 
impression,  but  their  presence  is  re- 
vealed in  the  name.  Real  love  always 
shows,  whether  it  is  simply  human  or 
more  spiritual  and  divine.  The  man 
or  the  woman  may  refuse,  hut  the 
attraction  and  the  opportunity  for 
marriage  was  there.  The  reading  has 
to  be  formulated  accordingly,  and  un- 
tood  in  the  same  way.  Love  may 
be  there  very  clearly,  too,  when  cir- 
cumstances make  marriage  in 
sible.    This  love,  whether  it 


marriage  or  not,  is  revealed  in  many 

forms.  Tt  may  be  truly  of  the  spirit, 
or  mere  physical  infatuation.  It  may 
for  money,  for  a  home,  for  com- 
panionship. Or  it  may  be  the  ordi- 
nary, pleasant,  more  or  less  depend- 
able brand  of  everyday,  and  \ 
hit  romantic,  affection. 

Thus  what  could  be  more  natural, 
inevitable  in  fact,  than  that  both  i 
and  woman  change  their  vibrations  in 
marriage,    the    woman    most    of    all, 
her  circumsl  un- 

changed, and  that  one  name  should  be 
the  mark  and  the  symbol  of  the  new- 
unit  that  has  been   formed? 

I  low  many  girl  U  know 

111 


102 


$&.  Information,  Please 


[  I  LACS. — Charles  Bickford  seems  to 
•— '  have  gone  ove»r  big  with  you.  He  was 
born  in  Cambridge,  Massachusetts,  Janu- 
ary 1st — but  he  doesn't  say  which  New 
Year's  he  helped  to  usher  in.  He  has 
red  hair  and  is  six  feet  one ;  weight,  185. 
"Dynamite"  was  his  first  film ;  "Anna 
Christie"  is  his  only  picture  you  didn't 
mention.  Yes,  he  is  from  the  stage.  He 
is  married,  but  I  don't  know  his  wife's 
name. 

Thank  You. — "Hoping  you  won't  find 
me  boring,"  you  say — and  that's  just  what 
the  auger  said  to  the  piece  of  wood.  Rob- 
ert Armstrong  was  born  in  Saginaw, 
Michigan,  November  20,  1896.  He  is  five 
feet  ten  and  a  half  inches  tall,  weighs  165, 
and  is  a  brunet.  He  was  married  about 
four  years  ago  to  Jeanne  Kent.  His  first 
film  was  "The  Main  Event";  he  recently 
played  in  "Be  Yourself"  and  "Dumb 
Belles  in  Ermine,"  and  is  working  on 
"The  Railroad   Man." 

Grateful. — And  I'm  grateful,  too,  for 
any  information  any  one  writes  me.  Ed- 
mund Lowe  was  born  in  San  Jose,  Cali- 
fornia, about  1894.  He  is  six  feet  tall, 
weighs  170,  and  has  light-brown  hair  and 
blue  eyes.  He  married  Lilyan  Tashman, 
September  2,  1925.  Lilyan  was  born  in 
New  York,  October  23rd — your  guess  is 
as  good  as  mine  which  October  23rd.  She 
is  five  feet  five,  weighs  112,  and  is  very 
blond,  with  blue  eyes. 

Gay  Pasee. — So  you  didn't  intend  to 
fool  me?  About  what?  Anyhow,  you 
didn't  fool  me !  As  to  whether  Maurice 
Chevalier  is  Jewish,  I  wouldn't  know  about 
that.     Mitzi  Green  is  twelve  years  old. 

La  Papillox  d'Or. — And  what  would 
you  do  if  one  of  those  butterfly  chasers 
should  get  after  you?  Joan  Bennett  was 
sixteen  when  she  married  John  Martin 
Fox  in  1927.  She  had  a  daughter,  Adri- 
<nne,  the  next  year.  I  don't  know  what 
Mr.  Fox's  profession  is.  As  to  Dorothy 
Mackaill's  matrimonial  affairs,  we  don't 
need  to  use  the  plural.  Her  only  hus- 
band was  Lothar  Mendez,  whom  she  mar- 
ried in  1926  and  divorced  two  years  later. 
I  haven't  space  for  complete  cast*  hare, 
but  Gilda  Gray's  supporting  cast  in 
"Devil  Dancer''  included  Give  Brook, 
Anna  May  Wong,  Michael  Vavitch,  and 
Serpe  Temof.  In  "The  Bishop  Murder 
Ca-e"  wen-  Basil  Rathbone,  Leila  Hy- 
ams,  Roland  Young,  and  Alec  B.  Francis. 
In   "One    Hysterica]    Night,"    Nora    Lane 


played  opposite  Denny ;  E.  J.  Ratcliffe 
and  Henry  Otto  were  also  in  it.  Evelyn 
Brent  was  the  heroine  in  "Blind  Alleys." 
Natalie  Kingston  has  been  making  a  few 
serials — "Tarzan,  the  Tiger,"  was  one. 
Kathleen  Key  made  a  talkie  comedy,  "The 
Family  Picnic,"  and  then  went  abroad 
for  a  year.  Since  she  left  the  movies, 
Blanche  Le  Claire  played  in  the  musical 
comedy  "Great  Day."  It's  a  little  easier 
to  sort  mail  in  the  Picture  Play  office  if 
you  indicate  in  the  corner  of  the  envelope 
what  department  your  letter  is  intended 
for. 

Bob  Andaine. — In  "The  Hottentot," 
Alec  was  played  by  Stanley  Taylor.  Mal- 
colm MaoGregor  hasn't  made  a  film  in  six 
months,  but  he's  rich,  so  I  don't  suppose 
it  matters.  Don  Terry  will  soon  be  seen 
in  "Down  by  the  Rio  Grande"  and  "Holi- 
day." See  Thank  You.  My  synopsis 
of  "The  Racketeer"  says  that  Keane  was 
killed  by  police  bullets.  Paul  Hurst 
played  the  patrolman — is  that  the  right 
answer? 

Peggy. — That  Stanley  Smith !  What  a 
boy  among  the  ladies !  He  was  born  in 
Kansas  City,  Missouri,  January  6,  1907. 
He  is  five  feet  eleven  and  a  half,  weighs 
160,  and  is  a  blue-eyed  blond.  He  was 
a  boy  soprano  in  his  home  town,  and 
then  his  family  moved  to  Hollywood — 
luckily  for  Stanley.  Singing  in  the  Hol- 
lywood High  School's  operetta,  he  was 
discovered  by  Lenore  Ulric,  who  got  him 
a  job  on  the  stage  in  "Kiki."  He  will 
soon  be  seen  in  "Good  News."  Nancy 
Carroll  is  five  feet  three  and  has  blue 
eyes  and  auburn  hair. 

Jeanette  Gibbons,  564  North  Gower 
Street,  Los  Angeles,  would  like  to  cor- 
respond with  any  fan  between  fifteen  and 
eighteen.  As  to  whether  I'm  nattered, 
Jeanette,  at  getting  so  many  letters — do 
you  think  fans  write  me  because  of  my 
winsome  charm?  It's  because  I  answer 
questions.  None  of  the  stars  under  con- 
tract gives  a  home  address.  Yes,  Joan 
Crawford  is  four  years  older  than  Doug, 
Jr. — but  what  does  age  matter  in  love? 
Joan's  first  film  was  "I'll  Tell  the  World." 
Nancy  Carroll's  first  was  "Abie's  Irish 
Rose."  Loretta  Young  is  seventeen,  and 
Sally  Blane  is  twenty.  Sally  Starr  is 
also  about  that.  Yes,  Arthur  Lake  has 
a  fan  club ;  Sally  Blane,  of  the  players 
you  ask  about,  is  the  only  one  who  has 
none.      So   you    want    me   to   turn   myself 


into  a  big  dictionary?     What   fun  does  a 
dictionary   get   out  of    life? 

Sue  Kennedy. — Yes,  I  agree  with  you; 
Dorothy  Mackaill  is  a  swell  gal !  She 
was  born  on  March  4,  1904;  she  is  five 
feet  four  and  a  half  inches  tall.  Shirley 
Mason  is  twenty-nine  and  Viola  Dana  is 
thirty-two.  Anna  Q.  Nilsson  shares  your 
birthday,  March  30th.  Dorothy  Mackaill's 
picture  has  not  been  on  the  cover  recently. 

Mrs.  M.  Stewart. — Anything  I  can  say 
about  submitting  theme  songs  is  discour- 
aging. Like  scenario  writing,  the  theme- 
song  business  is  a  closed  book  to  out- 
siders. Song  writers  for  talkies  are  en- 
gaged after  they  have  established  a  repu- 
tation, almost  never  before.  I  can  only 
suggest  that  you  have  your  songs  copy- 
righted and  submit  them  to  any  of  the 
big  publishing  firms  whose  addresses  you 
can  find  on  sheet  music.  Inclose  postage 
for  return,  of  course. 

Questioneer. — So  your  head  is  full  of 
silly  questions?  Mine  is  just  as  full  of 
silly  answers.  Buddy  Rogers  was  born 
in  Olathe,  Kansas,  August  13,  1904.  He 
is  six  feet  tall,  weighs  175,  and  has  black 
hair  and  brown  eyes.  His  next  picture 
is  "Safety  in  Numbers."  Nancy  Carroll 
was  born  in  New  York  City,  November 
19,  1906,  and  christened  Ann  LaHiff.  See 
Peggy.  Nancy  is  Mrs.  Jack  Kirkland, 
and  she  has  a  child.  '  Her  new  film  is 
"Devil's  Holiday."  The  first  Mrs.  Fair- 
banks— Doug,  Jr.'s  mother — was  Beth 
Sully.  She  recently  married  Jack  Whit- 
ing, a  young  juvenile  just  making  his 
screen  debut  after  considerable  stage  suc- 
cess. Nick  Lucas  is  with  Warner  Broth- 
ers. 

Betty  Jo. — One  of  your  favorites  has 
not  even  left  the  screen  !  Louise  Brooks 
has  been  making  films  in  Germany.  She 
was  born  in  Wichita,  Kansas,  in  1909 ; 
she  is  five  feet  two  and  weighs  120.  She 
has  black  hair  and  snappy  brown  eyes. 
That's  her  real  name.  Her  hobby  is 
dancing.  Jacqueline  Logan' was- born  in 
Corsicana,  Texas,  November  30,  1902. 
She  is  five  feet  four,  weighs  115,  and  has 
auburn  hair  and  gray  eyes.  Music  is  her 
avocation.  I'm  afraid  the  movies  have 
talked  her  out  of  work. 

Leone  Stone. — Whatever  you  call  me, 
it'-  all  right  with  me,  only  please  let's  not 
get  rough !  Virginia  Bruce  is  still  under 
contract  to  Paramount.     Lily  Damita  was 

Continued  on  page  120 


id: 


Th 


ree  races 


Gwen   Lee   dusted   off  the  family   album  and   look 
what  she  found. 


Gwen's   second   stage,  above,   pig- 
tailed   schoolgirl  beamingly   proud 
of  her  puppy. 

And   in   the   center,   toothless,   but 

certainly  not  mewling,  little  Gwen 

proves    that    even    then    she    was 

different. 


Gwen's  Miiile  is  still  the  hearty 

one  of  Baby  Lee,  with  benefit 

of  l.iakc-up. 


*! 


The  calm  assurance 
that  all'*  well 
Gwen  is  felt  in  her 
photo,  left,  in  con- 
the  ap- 
pealing skepticism 
with  which  the 

on     the 

!     the    camera 
a  n  d     phony 
-m. 


*\ 


104 

Continued  from  page  24 
clothes  of  a  very  extreme  cut — quite 
in  keeping  with  his  roles. 

"Mr.  R'athbone,"  Mr.  Watson  in- 
formed me,  "is  really  responsible  for 
the  presenl  style  in  trousers — high 
waists  and  peg  legs,  large  and  full 
at  the  hips  and  tapering  to  a  narrow 
bottom." 

"Aha!"  I  cried,  "now  it  comes  out. 
You  never  see  them  in  the  East. 
They  would  set  the  wearer  apart  on 
Park   Avenue.      What's  the   idea?" 

"Why,  a  high-waisted  trouser  gives 
the  impression  of  long  legs  and  an 
illusion  of  height.  The  plaits  are  in- 
clined to  make  the  wearer  look  thin- 
ner about  the  waist.  There  are  tricks 
in  all  trades,"  he  added. 

"Yes,"  I  added  dryly,  "I've  found 
that  out,"  thinking  of  some  of  the 
players  whom  I  had  seen  come  in  and 
whose  trouser  seams  had  to  be  sewed 
a  certain  way  to  hide  their  bow  legs, 
of  others  whose  shoulders  were  care- 
fully  padded  to  build  them  up,  of 
others  whose  vests  were  padded  to 
conceal  flat  chests,  and  still  others 
whose  trousers  were  reenforced  with 
strong  bands  to  hold  in  rebellious 
stomachs. 

Don't  think  women  are  the  only 
ones  who  are  particular  about  the  fit 
of  clothes,  either.  I  have  seen  one 
celebrity  come  in  there  and  spend  not 
hours  but  days  having  a  single  gar- 
ment fitted.  It  is  not  at  all  uncom- 
mon for  one  suit  to  take  two  or  three 
hours  of  fitting. 

Occasionally  a  studio  arranges  a 
fitting  on  the  set  for  a  player  who  is 
too  busv  to  come  to  town  to  have  it 


Quick,  Watson,  The  Needle! 

done.  And  sometimes  when  they 
can't  get  away  during  the  day,  the 
iitting  is  taken  care  of  at  night,  or 
on  Sunday.  Nor  is  it  a  rare  occur- 
rence to  have  a  player  come  in  and 
say  that  he  has  to  have  a  complete 
wardrobe  in  two  days. 

Frank  Albertson  dashed  in  one 
Saturday  morning  while  I  was  there 
and  had  to  have  a  Tuxedo  to  wear 
Monday  in  "So  This  Is  London." 

"Frank's  clothes  are  a  problem, 
too,"  Mr.  Watson  said  when  he  had 
gone.  "In  the  first  place,  he  doesn't 
care  anything  about  clothes.  He  likes 
to  roam  around  in  slacks  and  a  sweat- 
shirt. All  he  wants  is  to  have  you 
throw  something  on  him — it's  up  to 
us  to  see  that  they  fit  and  that  he 
looks  his  best.  Wre  daren't  put  any 
padding  in  his  shoulders,  because  he 
has  very  broad  shoulders  naturally, 
and  a  short  neck.  If  we  padded  his 
shoulders  it  would  make  him  look 
like  a  kewpie." 

"Why  do  so  many  movie  men  wear 
these  highly  padded  shoulders?"  I 
asked.  "You  don't  see  men  wearing 
suits  like  that  off  the  screen." 

"Oh,  yes,  you  do,"  said  Mr.  Wat- 
son. "Maybe  not  quite  so  pro- 
nounced, but  most  men  have  some 
padding  in  their  coats.  Not  every 
one  is  blessed  with  naturally  broad 
shoulders,"  he  added,  "and  we  have 
to  build  them  up.  But  most  of  the 
good  dressers  are  not  wearing  them 
as  thickly  padded  as  heretofore. 

"The  latest  thing,"  he  continued, 
"is  a  very  full  sleeve  tapering  down 
to  a  narrow   cuff."     Visions  of  the 


leg-o'-mutton  sleeves  mother  used  to 
wear  when  I  was  a  child  floated  be- 
fore my  eyes,  but  it  seems  men  are 
not  going  to  such  extremes.  A  very 
full  sleeve  means  perhaps  an  inch 
larger  at  the  top  than  formerly — and 
without  the  puffs. 

"Double-breasted  suits  are  more 
popular  now  than  ever  before  and 
soft  materials  are  coming  back  with 
a  vengeance.  On  double-breasted 
suits  the  lapels  are  usually  cut  very 
broad  and  on  single-breasted  ones 
the  notched  lapels  are  much  smarter 
than  the  peaked.  The  lapels  are  all 
made  with  a  very  soft  roll  in  prefer- 
ence to  the  sharply  creased  kind. 

"The  double-breasted  waistcoats — 
vests  in  the  vernacular — are  also  very 
popular  in  Hollywood  as  they  give  a 
broad-chested,  high-waisted  effect 
that  helps  to  carry  out  the  appearance 
of  height  achieved  by  the  trousers." 

Honestly,  girls,  since  I  found  out 
how  much  there  is  about  men's  clothes 
and  what  smart  effects  can  be  ob- 
tained simply  by  blousing  the  sleeves 
a  little  here  and  tapering  the  trousers 
a  little  there,  I  can  hardly  wait  for 
my  next  check  to  come  because,  after 
all — I  mean,  why  shouldn't  a  fellow 
have  a  suit  with  patch  pockets  and 
inverted  plaits  and  a  double-breasted 
waistcoat.  Because — I  mean,  if  I 
went  down  the  street  dressed  like  that 
maybe  somebody  would  mistake  me 
for  Buddy  Rogers  or  Basil  Rathbone 
and  become  interested  before  the  mis- 
take was  discovered  and — and — I 
mean,  they  actually  might. 


Your  Ckance  In  Talkies 

tory  work — anything  connected  with  flooded  with  beautiful  girls  and  fine- 

the  stage.     Keep  an  eye  open  for  a  looking  men.      Right   now   there's   a 

Broadway    engagement.      The   closer  dearth  of  good-looking  leading  men 

to  Broadway  one  can  get,  the  better  and  women  in  talkies. 


Continued  from  page  19 
shoot  on  the  same  day.  There  are 
no  retakes  of  fumbled  scenes  here. 
They  have  to  be  right  the  first  time." 
Then  he  summed  up  what  all  the 
rest  had  told  me.     What  I,  too,  had 


his   chance  of  being-  discovered   and 


about  concluded,  after  long  probing     signed  for  talkies.     All  studios  have 


into  the  extra  situation  in  the  East. 
"The  talkies,"   he  declared,   "have 
sounded  the  death  knell   of  the  un- 
trained extra's  hopes." 


scouts  out  looking  for  promising  ma- 
terial, especially  in  the  theaters  in 
and  around  New  York." 


"We're  trying  to  train  such  people 
through  our  own  Publix  Theaters," 
he  said.  "Publix  is  now  booking 
dancing  girls  and  acts  all  over  the 
country,  bringing  them  to  New  York 


Returning  to  New  York  I  began    and  sends  you  to  Hollywood. 


New  York  books   you,   they   said,     with  a  view  to  training  them  for  work 


in  our  studio.     Not  as  extras,  but  in 


to  wonder,  "How  in  the  world  does 
one  break  into  pictures  now?  Would 
one  go  to  Hollywood  or  New  York? 
Mow  would  one  begin?" 

I    went  back  to   Frank   Heath   of 
Paramount  and  asked  him.     I  asked 


Thus  New  York  is  a  better  place     special  numbers. 
to  break  into  pictures  now  than  Hoi-         "Ginger  Rogers  and   Helen   Kane 
lywood.     Not  because  there  are  more     came  to  talkies  by  way  of  the  Publix 


studios  in  the  East,  but  because  the 
stage  center  is  here. 

Talkies,  they  pointed  out,  are  only 


Stnart    Stewart,    casting   director    at     a   post-graduate   proposition    for  the 
Warners.     T  asked  I.  T.  Altman,  as-     successful  actor,  rather  than  a  happy 


route.  A  number  of  stars  of  the 
future  will  undoubtedly  come  from 
that  source." 

"But    how    would    a    beginner    go 
about   getting  booked  by    Publix,   if 


inl  to  the  vice  president  in  charge     hunting-ground  for  the  good-looking     he  could   sing,  dance,   or  do   a   spe- 


of  Eastern  M.-G.-M.  production. 

They  all  told  me  the  same  thing. 

"The  best  way  to  break  into  talk- 
ies," they  stated  emphatically,  "is  to 
get  stage  experience  of  some  sort. 
Stock,  vaudeville,  concert,  tent  repcr- 


but  inexperienced  personality. 

"Though  handsome  people  are  and 
always  will  be  at  a  premium  in  the 
studios,"  said  Frank  Heath,  "the 
talkie  player  must  have  a  voice  as 
well.      Don't    think,    however,    we're 


cialty?"^ 

"Publix  doesn't  book  novices."  he 
stated.  "He'd  have  to  get  experience 
first." 

"How?"  I  inquired. 

Continued  on  page  107 


105 


Are    Handsome    Heroes    ''Out"? 
tinned   from   page  21 

these  same  people  on  the  screen,  and 
dat  ol'  davil  camera  simply  plays  hob 

with  the  impalpable  something  called 
charm.  The  poor  human  husk,  but 
faintly  illumined  by  the  inner  tire, 
looms  up  with  all   its  imperfections 

glaringly  magnified.  Even  the  most 
dulcet,  golden  voice  can't  offset  a 
badly  assembled  physiognomy  in  a 
screen  lover  of  either  sex. 

Which  is  perhaps  why  I  could  do 
very  well  with  a  ^reat  deal  less  of 
the  cloying  love  business.  And  if. 
in  future,  our  Romeos  are  to  look 
like  reformed  pugilists,  then,  in 
Heaven's  name,  let's  do  away  with 
the  clinches  altogether.  In  all  screen 
history  only  a  few  pairs  of  lovers 
have  met  the  exacting  requirements 
of  this  delicate  and  precarious  phase 
of  emotion.  Norma  Talmadge  and 
Eugene  O'Brien  were  such  a  pair. 
They  perfectly  balanced  each  other: 
you  could  look  at  them  right  up  to 
the  final  fade-out,  without  wishing 
that  somebody  would  pull  down  the 
blind.     Gilbert  and  Garbo  were  quite 

•acton- — it  you  care  for  thai 
of  thing — and  Colman  and  Banky 
were  rare  and  delightful.  Valentino 
and  the  slim  Alice  Terry,  of  "Four 
Horsemen"  days,  were  appealing  and 
convincing. 

\\  ho  have   we  in  these  garrulous 
times  to  take  the  place  of  our  silent 
:id  Fra:  Ruth  Chat- 

terton  and  Clive  Brook  make  a  nice 
team,  but  they  belong  to  the  admir- 
ably mannered  school  of  which  some 
one  has  said.  "They  don't  act — they 
behave."  As  for  Garbo  and  Bick- 
ford.  in  "Anna  Christie."  I  didn't 
bother  about  them  at  all ;  Marie  Dres- 
sier was  the  whole  show  in  that  pic- 
ture, with  George  Marion  running 
her  a  close  second.  I  remember  that 
there  was  a  lot  of  fog,  made  more- 
realistic  by  Greta's  foghorn  voice,  and 
I  worked  up  quite  an  unlawful  thirst 
in  some  ■■:'  the  barroom  scenes.  But 
when  Marie  wasn't  present,  the  pic- 
ture was  just  a  damp  blob  of  gloom. 
The^  peculiar  essence  of  Eugene 
O'Xeill's  plays  simply  can't  be  trans- 
lated into  screen  terms. 

Perhaps  mine  is  a  voice  crying 
alone  in  the  wilderness ;  perhap>  the 
day  of  the  handsome  hero  is  def- 
initely over.  But  if  so.  I  maintain 
that  the  day  of  the  romantic  love 
er — aiv!  hun- 

dreds of  thousands  of  women  are 
certain    to    bewail    h  To 

them    the    idyllic    love    film    was    an 
:»e    from    unsatisfactory    real 
a  land  of  dreams.     And   who 
ever  heard  of  a  rlream  lover  with  a 
pug 

Again,  I  r^k  you ! 


Your  poise  and  charm 

are  safe  with  this 
deodorizing  protection 

irn  ; 


Costumes  from  Kaskel  &  Kaskel  Dunlap 


Because  Kotex  deodorizes  .  .  . 
is  inconspicuous  .  .  .  stays  light 
and  cool  for  hours  ...  it  is 
really  necessary  to  your  summer 
poise  and  comfort. 

DON'T    sacrifice    your    feminine    charm 
one  single  day  in  summer.    Kotex  pro 
tects  when  daintiness  is  especially  difficult. 

All  through  every  Kotex  pad  a  wonderful 
deodorant  is  sprinkled.  This  deodorant  is 
your  protection.  It  is  safe  and  gentle  .  .  . 
soothing,  even  .  .  .  yet  deodorizes  as  long  a, 
the  pad  is  worn. 

Meantime,  Kotex  gives  a  degree  of  com- 
fort that  seen.  miraculous.  This  i, 
largely  due  to  its  unique  filler.  CelluCOttOO 
(no:                   Ijsorbent  wadding. 

Preferred  by  hospitals 

Cell:-  ■  ..f  Ajneri 

leading  bi 

b  but  a  cellul 

stance  which  ..;  .  .1. 

an  equal  weight  of 

I 
I  can  be  tr 
any  cotton  pa:  tion. 

Think   of   the  difference    in    summer,    a 
bulk  and  weight  art 

•   keeps  it  It hcacy  an 

ing   time.     It  l>  nude  of  she..  laid 


lengthwise.    These   layers   permit   free  circu- 
lation of  air,  and  carry  moisture  quickly  .. 
from  the  surface.    This  method  of  absorption 

is  important  both  to  comfort  and  hygiene. 

Round,  tapered  corners  keep  Kotex  ai  \ 
inconspicuous.    And  you  dispose  of  it  as  easily 
as  tissue.    Kotex  Company,  Chicago,  Illinois. 

IN  HOSPITALS 

85<  of  our  li.iiln  use  the  very 

sjirn;  absorbent  ol  which  Koicx  is  made 

2    Kottxii  >nfl  ■  ■  ■  11001  deceptive 

ncss  ilut  soon  packl  into  chafing  lupi- 
nes*. Bat  a  rlrikiie,  fli  .  that 
Use  lor  boon. 

i       iO/l  .    MMfFV  .    .  .  keci>s   your  mind  .« 
j       /),', J'ki   ,,  .   ,  .sjfrlv.ilioroiiKhly.br 

*  S|>CU.ll   1  1 

5    Disposable,  lastantir,  compUi 

Regular  Koiex- 

Kokx  Bupci  Siat 

Also  regular  si/r  singly  in  rending  ubincts 
through  Vs  01  Diiinii 


I 


Ask    ,,,    .,  ,     ,h.     Kol  I  \     III 
KOTEX   iANII  IRi    \rio  .'. 

drug,   dry  goods  or  department  slor. 


KOT6X 

1  he  New  s.uiimiv  P.  I  vrhicb  deodorizes 


16Q 

Continued  from  page  74 
able  spots  for  them  in  her  own  home, 
she  is  now  supplying  delighted 
friends  with  her  current  efforts.  Al- 
ia"-; any  leisure  afternoon  will  find 
her  plying  hook  and  wool,  in  com- 
pany with  Kay  Hammond,  a  sister 
addict,  the  absorbed  silence  hroken 
only  by  an  argument  as  to  patterns, 
and  pauses  for  coffee. 

Because  she  has  numerous  freckles, 
she  considers  her  complexion  hope- 
less  beyond  improvement,  and  a  de- 
spairing dah  of  powder  in  the  morn- 
ing is  seldom  replenished  during  the 
day.  Her  huge  gray  eyes  are  thickly 
decorated  with  black  lashes,  but  her 
eyebrows  are  comparatively  light, 
giving  an  Aubrey  Beardsley  effect  ac- 
centuated by  bright  lipstick,  white 
teeth  and  the  unpowdered  tan  of  her 
skin.  During  the  summer  her  tan 
deepens  to  a  rich  copper. 

Her  figure  is  one  of  Hollywood's 
best — and  that  sans  diet,  massage, 
or  brassieres.  Her  shoulders,  which 
are  broad  and  square,  give  her  a 
proud,  graceful  carriage.  Periodi- 
cally she  decides  she  is  overweight, 
and  is  prevented  from  reducing  only 
by  Doug's  outraged  protests. 

Generally  quiet  of  voice  and  de- 
meanor, she  nevertheless  has  occa- 
sional outbursts  of  Irish  temper. 
These  are  over  in  a  moment  and  she 
never  sulks.  Rarely  moody,  when  a 
low  ebb  does  descend  upon  her,  she 
goes  to  her  own  room  and  gets  over 
it  alone.  Of  very  definite  opinions 
and  standards,  once  her  mind  is  made 
up  a  native  stubbornness  protects  her 
decision  from  any  argument.  Open 
and  warmly  friendly  as  a  child,  she 
loves  to  be  liked.  Correspondingly 
sensitive,  she  is  paralyzed  by  a  delib- 
erate injury  and  can  never  forgive  it. 


Joan — As  She  Is 

And  a  favor  done  her  is  always  ac- 
knowledged and  never  forgotten. 

She  is  terrified  when  singing  for 
the  microphone  and  breaks  into  a  cold 
sweat  before  the  song  is  finished. 
Speaking  lines,  however,  gives  her  no 
trouble.  An  advantage  over  many  of 
her  confreres  is  in  her  speaking  voice, 
which  is  naturally  full  and  smooth, 
giving  her  a  start  on  the  talkies. 

She  makes  no  secret  of  her  educa- 
tional shortcomings,  and  frankly  goes 
about  remedying  them  herself.  Im- 
patient of  surface  knowledge,  she  is 
an  indefatigable  student  of  the  things 
she  wants  to  understand.  She  is 
studying  French,  Spanish,  and  Ger- 
man, and  reads  every  biography  she 
can  find,  because  there  are  so  many 
interesting  people  in  the  world  about 
whom  she  knows  nothing. 

Sensitive  to  fan  criticism,  she  is 
hurt  by  the  public's  jeers  at  the  sen- 
timental publicity  given  her  romance 
with  Douglas.  The  publicity,  as  a 
matter  of  fact,  was  without  her  sanc- 
tion. But  two  young  people  deeply 
in  love,  and  also  in  the  limelight,  are 
red  meat  to  sob-sisters  hungry  for  a 
"hot"  story.  The  type  of  article 
their  marriage  occasioned  has  caused 
Douglas  and  Joan  embarrassment, 
yet  they  are  powerless  to  check  the 
flow  of  saccharine  misquotations, 
their  only  resource  being  to  cease 
reading  fan  magazines.  This  has  also 
checked  her  eloquence  on  the  subject 
of  Doug's  acting,  drawing,  and  writ- 
ing, except  when  she  is  sure  she  is 
among  friends  who  will  not  make 
sport  of  her  extravagant  pride.  Her 
pride  is  not  so  extravagant  when  one 
sees  his  sketches  and  verse. 

Fully  aware  of  the  responsibility  of 
stardom,  Joan  prays  for  good  stories. 


She  begins  each  picture  with  enthu- 
siasm, but  when  she  sees  it  pre- 
viewed, is  convinced  it  will  be  her 
last,  so  bad  does  it  look  to  her,  and 
she  weeps  on  Douglas'  shoulder  all 
the  way  home.  Joan  is  fed  up  on 
hoydens  and  debutantes,  and  wants 
fervently  to  do  definite  characteriza- 
tions. She  has  a  tremendous  capacity 
for  work,  and  during  a  picture  is  at 
continual  high  tension,  never  letting 
down  until  the  last  retake  is  over,  and 
she  then  collapses  into  a  temporary 
version  of  a  wet  dishcloth. 

She  loathes  large  gatherings  of 
women,  and  avoids  all  females  who 
coo,  "What  an  adorable  dress — 
where  did  you  get  it? — you  look  too 
sweet !"  She  likes  sincerity,  courage, 
and  kindliness  above  all  other  quali- 
ties. She  would  like  to  take  gas 
every  time  she  has  a  tooth  filled,  and 
invents  elaborate  excuses  for  herself 
to  break  dentist  appointments.  Ann 
Harding  is  her  idea  of  the  perfect 
woman,  and  her  favorite  actresses  are 
Miss  Harding,  Gloria  Swanson, 
Pauline  Frederick,  and  Greta  Garbo. 

She  toes  in  when  she  walks,  and 
sits  with  one  foot  on  top  of  the  other. 
No  matter  how  tired  she  is  at  night, 
she  hangs  her  clothes  tidily  in  the 
closet.  She  loves  dogs  and  babies, 
and  both  instinctively  return  her  af- 
fection. She  plays  a  ruthless  game 
of  Russian  Bank  and  double  solitaire, 
chronic  vices  of  both  Joan  and  Doug- 
las, and,  when  they  have  guests,  al- 
ways hopes  that  "coffeepot"  will  be 
suggested.  She  likes  to  have  her 
arms  and  back  gently  tickled,  likes 
orchid  corsages,  Laurel  and  Hardy 
comedies,  races  on  the  beach,  tennis, 
and  historical  novels.  And  to  be  in- 
troduced as  Mrs.  Fairbanks. 


Continued  from  page  45 
It  seems  that  he  directed  a  big 
epic  which  was  very  bad,  but  which 
cost  a  lot  of  money.  The  producer 
was  anxious  to  get  his  money  back 
and  advertised  the  film  as  spectacular. 
Just  about  the  time  it  was  released, 
the  director's  contract  came  up  for 
renewal.  The  producer  was  afraid 
to  let  him  go,  for  fear  the  exhibitors 
of  the  country  would  smell  the  mouse, 
rmd  know  there  was  something 
wrong.  So  the  director  got  a  re- 
newal at  a  higher  salary,  and  he  will 
have  six  months  of  idleness  with  the 
biggest  salary  he  ever  got,  for  the 
simple  reason  that  the  producer  is 
unwilling  to  intrust  another  film  to 
him — even  a  two-reeler  to  keep  him 
busy. 

The  wife  of  one  of  our  stars  went 
to  Xew  York,  and  pronto  hubby 
started  Stepping  out. 


Tke  Stroll 


er 

Becoming  suspicious,  the  wife  tele- 
phoned him  one  night. 

"Got  any  girls  there?"  she  asked. 

"Why,  no,  dear.  Of  course  not," 
the  star  replied. 

"Then  you  won't  mind  repeating 
this  after  me,  'If  there's  a  woman  in 
this  house,  I  hope  she  dies  before 
leaving  it.' " 

The  star  repeated  it — but  the  next 
day  he  was  around  asking  his  friends 
for  some  new  telephone  numbers. 

So  many  players  are  out  of  work 
that  the  old  gag  of  being  between 
pictures  doesn't  work  any  more. 

Unemployment  is  so  common  now 
that  they  say  quizzically,  "No,  I'm 
not  working  just  now.  I'm  between 
screen  tests." 

Writing  for  the  screen  has  been 
put  on  a  quantity  basis  at  one  studio. 


Believing  that  they  were  not  get- 
ting enough  work  out  of  the  writers, 
the  management  ordered  all  the 
scribes  to  be  on  the  lot  at  eight  a.  m. 
The  writers  objected  that  they  were 
not  the  type  for  this,  and  asked  if 
they  were  to  forget  all  ideas  that 
came  to  them  outside  of  business 
hours. 

The  first  result  was  that  the  writers 
took  to  breakfasting  at  the  restaurant 
on  the  lot,  and  could  be  found  there 
idling  over  ham  an'  as  late  as  ten 
o'clock.  The  boss  took  cognizance 
of  this  and  ordered  the  restaurant  to 
refuse  to  serve  breakfast  to  writers 
after  nine.  The  situation  is  now 
deadlocked  at  this  stage.  .  But  even 
nine  is  early  for  most  writers.  On 
many  lots  they  report  some  time 
around  eleven,  and  the  studios  are 
thankful  if  they  get  out  in  time  for 
lunch. 


107 


Your  Chance  In  Talkies 

ntinaed  from  page  104 

two  people  get  their  stage 
training  in  the  same  way,"  he  de- 
dai 

art  was  much  nw 

plicit. 

"He'd  i,ro  the  rounds  oi  theatrical 
offic  ad    of    studios,"    he   said. 

"If  he  were  lucky,  he  might  get  a 
part  in  stock  or  vaudeville  sooner 
or  later.  Feople  have  even  been 
known  to  get  hits  on  Broadway  with- 
out previous  experience.  He'd  get 
(roadway  as  ]->ossihle.  any- 
how. We're  always  looking  for  tal- 
ent there. 

very  play  that  opens  here. 

an    out-of-town 

show,   if   it   sounds   interesting.     I'm 

constantly     scouting     for     promising 

types 

I.  I.  Altaian,  who  arranges  screen 
tests  for  M.-G.-M.,  and  was  respon- 
sible for  sending  to  the  Coast  such 
players  as  Grace  Moore.  Kay  John- 
son. Charles  Bickford.  Catherine 
Dale  Owen,  and  others,  told  me.  "We 
don't  give  talkie  tests  to  beginners, 
regardless  of  how  promising  the  ap- 
plicant. The  only  people  who  come 
to  my  office  are  well-known  stage 
players  whom  the  Coast  recommends 
for  tests.  If  they  look  like  good 
types.  I  arrange  auditions  over  the 
radio  for  them.  If  they  still  seem 
good.  I  give  them  tests^— sometimes 
two  or  three.  Then  I  either  send 
them  to  Hollvwood  or  don't,  accord- 
ing to  results.  About  one  out  of 
fifty  passes  muster.  One  out  of  three 
hundred  is  very  good. 

"I  advise  any  one  who  wants  to 
break  into  talkies,  'Don't,  please  don't 
try !  But  if  you  must,  go  about  it 
intelligently.  And  don't  be  afraid  to 
quit  if  you  find  you're  not  getting 
anywhere.'  " 

"How  would  you  go  about  break- 
ing in?"  I  asked  him. 

"First,  I'd  go  the  rounds  of  thea- 
trical producers  and  casting  directors. 
I'd  stay  as  far  away  from  the  studios 
as  possible.  I'd  make  as  many  con- 
tacts with  as  many  important  stage 
people  as  I  could.  Contacts  mean  a 
lot  in  this  business. 

"If  I  had  an  exceptional  voice,  or 
could  do  a  specialty  number  of  any 
sort  exceedingly  well.  I'd  try  to  get 
a  reliable  agent  interested  in  me.  He 
could  arrange  a  screen  test  when  I 
couldn't. 

"Or  if  I  thought  I  had  possibilities 
as  an  actor,  I'd  try  to  get  into  the 
Theater  Guild  school,  the  Civic  Rep- 
ertory school,  or  the  American  Acad- 
emy of  Dramatic  Arts. 

"Remember     the     Theater     Guild 
school  of  four  or  five  years  ago?"  he 
Continued  on  page  110 


L^oull  en 


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KLEENEX  makes  it  so  pleasant  to  care  for 
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And  do  you  know  how  dangerous  these 
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cosmetics.  That's  what  starts  pimples  and 
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Even  hard  rubbing  can't  remove  all  the 
impurities,  when  you  use  an  unabsorbent 
cloth.  And  this  hard  nibbing  is  injurious. 
Stretches  the  skin.  Relaxes  it.  And  so  in- 
duces large  pores  and  premature  wrinkles. 

Kleenex  just  can't  irritate  in  any  way.  It's 
so  soft,  so  readily  absorbent.  It  blots  up 
every  bit  of  surplus  cream,  and  lifts  impuri- 
ties from  the  p> 

More  and  more  people  are  using  K' 
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Kleenex  Cleansing  Tissues 

TO  XXMOVE  COLD  CREAM 


"/  USE  KLEESEX  for  removing  cold  cream 
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O-OM-C&Lt-eUA. 


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108 


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Wken  DeMille  Takes  To  Air 


Continued  from  page  55 


This  "comedy  with  music,"  as  it  is 
described,  is  lighter  than  DeMille's 
usual  endeavors,  though  the  ending 
supplies  a  smash-bang  melodrama. 

The  home  settings  are  palatial,  but 
on  the  Zeppelin,  its  sides  being 
glassed,  there  are  no  lavish  back- 
grounds ;  novelty  is  achieved  in  the 
costuming.  The  film  has  no  color 
sequences. 

Comedy,  in  pungent  repartee,  pep- 
pers scenes  in  which  Martha,  the 
philosophical  maid,  spurs  prim  An- 
gela to  fight  for  her  husband  with 
"the  other  woman's"  weapons.  It's 
the  familiar,  hardy  plot  embellished 
with  the  fanciest  wardrobe  and  the 
jazziest  tunes  in  all  its  movie  history. 

Daily  overhead  cost  is  twenty-five 
thousand  dollars !  The  Zeppelin,  on 
rockers,  fills  one  M.-G.-M.  stage. 

Though  the  cast  is  small,  a  num- 
ber of  names  appear  in  the  spectacu- 
lar and  dramatic  climaxes  aboard  the 
Zeppelin.  No  doubles  are  used  in 
the  parachute  leaping,  but  they 
haven't  far  to  drop.  They  jump  from 
a  set  representing  the  Zeppelin  deck, 
and  telescopic  cameras  pick  up  their 
expressions  as  they  step  off  and  speed, 
whirling  and  swaying,  to  the  stage 
floor.  Wallace  MacDonald,  Wilfred 
Lucas,  Ella  Hall,  blond  heroine  of 
yore,  Mary  McAllister,  Betty  Fran- 
cisco, Vera  Marsh,  Ilka  Chase,  Kath- 
erine  DeMille,  Edwards  Davis,  Ty- 
ler Brooke,  Boyd  Irwin,  Albert  Conti, 
Julanne  Johnston,  Martha  Sleeper, 
Countess  Rina  de  Liguoro,  Italian 
star,  Prince  Youcca  Troubetzkoy, 
June  Nash,  Kenneth  Gibson,  and 
Louis  Natheaux  play  these  important 
bits. 

Kay  Johnson,  with  her  light,  sil- 
very charm,  must  maintain  credibil- 
ity in  the  transition  from  housewife 
to  the  alluring  Madame  Satan;  its 
skillful  negotiation  demands  a  talent 
of  adroit  nuance.  Her  singing  must 
define  her  dual  personality,  and  in 
one  number  be  sprinkled  with  a 
French  accent. 

There  is  something  of  the  thor- 
oughbred about  Miss  Johnson.  A 
flexible  manner,  a  buoyant  natural- 
ness which  is  poised,  without  being 
posed ;  a  high-strung  tautness,  rip- 
pling humor;  the  candid  expression 
of  convictions ;  audacity  in  mocking 
the  petty  rules  of  Hollywood's  social 
structure,  a  gay  banter  beneath  which 
flows  a  serious  ambition  and  applica- 
tion. 

Her  voice  is  light,  yet  very  as- 
sured. 

"No,  I've  never  harbored  vocal 
yearnings,"  she  related.  "A  friend 
took  me  to  an  audition  for  a  Broad- 


way role  in  which  it  was  necessary  to 
sing.  The  piano  was  on  a  platform 
at  the  end  of  the  longest  room  I  ever 
had  seen — I  hadn't  been  on  a  De- 
Mille set  then.  It  seemed  miles  long. 
The  eyes  of  the  producer  and  his  as- 
sociates were  focused  on  me.  I 
reached  the  platform  and  sang — hor- 
ribly. Confused,  I  stopped,  on  the 
verge  of  tears.  'Go  ahead,'  my  friend 
called  encouragingly.  'They  don't 
want  some  one  who  sings  well,  any- 
how.'    I  got  the  part." 

Miss  Johnson  and  John  Cromwell, 
her  husband,  shocked  Hollywood  by 
going  to  their  first  premiere  in  a 
taxi.  They  hadn't  an  automobile 
then.  In  such  cases  one  rents  a  lim- 
ousine, the  hoi  polloi  thinking  it  one's 
own,  unless  they  chance  to  note  the 
letters  on  the  license  plates. 

"We  won't  rent  a  front,"  Miss 
Johnson  maintained.  "We  would 
feel  so  silly." 

Comments  have  proclaimed  a  war 
between  stage  spotlights  and  movie 
incandescents.  New  arrivals  are  ac- 
credited with  bad  manners,  local  in- 
habitants with  a  discourteous  ostra- 
cism. Though  she  felt  that  she  was 
surveyed,  Miss  Johnson  encountered 
no  hostility. 

"Perhaps  I  do  not  yet  understand 
the  little  innuendoes,  but  I  found  only 
an  air  that  said,  'They  brought  her 
out  from  New  York — she'd  better 
be  good !'  but  not  a  manner  definitely 
unkind." 

Miss  Johnson  went  happily  about 
her  many  interests,  seemingly  un- 
aware of  causing  a  stir,  and  in  time 
disarmed  suspicion.  Without  swerv- 
ing from  her  own  delightful  way,  she 
has  been  accepted ;  she  is  liked. 

A  tall,  slim  blonde,  her  hair  a  very 
light  brown,  not  the  prevalent  pale 
yellow  of  white-henna  bleaches,  she 
is  lovely  without  particular  beauty, 
striking  but  never  conspicuous.  For 
the  first  time  a  DeMille  heroine  wears 
her  elaborate  costumes  unobtrusively. 
It  takes  a  personality  not  to  be 
dwarfed  by  his  sumptuous  ensembles. 

Reginald  Denny,  who  plays  Bob, 
sang  in  English  musical  comedy,  be- 
fore he  came  into  pictures.  The  tem- 
pestuous Lillian  Roth,  of  such  warm, 
vital  color,  has  stamped  her  person- 
ality upon  several  films.  Roland 
Young  is  known  to  screen  audiences. 
Elsa  Peterson  of  the  "Follies,"  and 
featured  singer  of  "Rain  or  Shine" 
and  "Sunny,"  obtained  her  early 
training  as  understudy  at  the  Royal 
Opera  in  Copenhagen.  Having  ap- 
peared with  Denny,  in  "The  Leather 
Pushers"  series,  she  is  acquainted 
with  camera  technique. 


109 


His  Name  on  the   "Bilgeboards" 


nued  i ri.iii  pa( 


big  school   for  girls.     It  docs  seem 
bad    the    school    didn't    include 

boys .'" 

Jack  sighed.  "I  suppose  I  should 
go  out  ami  take  lessons  in  helping 

ly   on  with   her  coat,   and   tricks 

like  that." 

When  Paramount  was  casting 
"The  Man  I  Love,"  Jack  Oakie  was 
mentioned  for  the  leading  role. 

"  'What  !'  the  director  said,  'let  that 
clown  make  love  to  Mary  Brian?1 
They  gave  the  role  to  Dick  Arlen. 

"But  I've  got  the  laugh  on  that 
director  now,"  said  Jack.  "In  my 
new  picture,  'The  Social  Lion,"  who 
do  you  suppose  I  make  love  to? 
Mary   Brian ! 

"You  know  love  scenes  are  a 
problem  in  talking  pictures.  All 
those  hectic  moments  that  used  to 
be  so  thrilling  in  the  silent  films  are 
just  a  great  big  laugh  when  you  put 
words  to  "em.  Now  we  make  love 
in  little  parables.  'There  was  a  little 
he-bird  who  loved  a  little  she-bird, 
only  he  was  too  shy  to  ask  her  to 
marry  him.'  All  that's  in  the  dia- 
logue, and  you  get  three  guesses  who 
the  two  birds  are. 


"At  first  they  said  nix  en  the  kiss- 

Ulg  at  the  end  of  the  picture.  Hut 
now  it's  all  set,  and  1  give  Mary  a 
little  peck,  and  they  squash  a  tomato 

something   off-stage   to   make   it 
sound  realistic." 
"And  are  you  pleased  at   playing 

the  hero  instead  of  the  comic;''  1 
asked. 

"Me?  What's  the  dilT?  I  do  any- 
thing they  till  me— it's  paying  me 
I  money,  ain't  it?  Anyhow,  you 
can't  tell  ahead  of  time  whether  a 
picture  or  a  part  will  he  good  or  not. 

"Look  at  "Sweetie.-  In  previews 
every  one  said  it  was  terrible.  And 
it's  cleaning  up.  Every  one — includ- 
ing me — said  I  was  terrible.  And 
then  what?  It  turns  out  that  I'm  an 
artist.     Huh!" 

Jack  shrugged  his  amazement.  An 
artist!  All  he  does  is  clown,  because 
clowning  is   natural  to  him. 

An  artist?  If  so,  then  it's  quite 
accidental. 

Tack's  next  him  is  "The  Sap  from 
Syracuse,"  in  which  he  plays  the  title- 
role.  But  Jack  was  born  in  Sedalia, 
Missouri. 


Over  The  Teacups 

Continued  from  page  33 


didn't  haunt  the  studio  where  Russell 
and  Jimmy  Gleason  were  working? 
I  didn't  remind  her  of  it,  though. 
She  is  touchy  about  those  things. 

"A  lot  of  players  have  dashed  East 
under  the  impression  that  they  would 
see  'The  Green  Pastures'  and  Lillian 
Gish's  play  the  first  two  nights  they 
were  in  Xew  York.  And  even 
though  they  rage  and  storm  and  offer 
speculators  fabulous  sums,  the  best 
they  can  do  is  get  tickets  for  six 
months  from  now.  A  lot  of  the 
dramatic  critics  had  a  patronizing 
manner  toward  Lillian  until  her  play 
opened.  But  by  the  end  of  the  first 
act  they  were  so  maudlin  they  were 
trying  to  decide  whether  she  was  as 
great  as  Duse  or  better." 

Theatrical  managers  are  all  looking 
rd    Hollywood    for    talent    now. 
Al   Wood-    would   like   to  get    Mary 
Pickford   for  a  play;   Belasco  wants 
Jeanette    MacDonald ;    Earl    Carroll 
wants  Alice  White  for  a  revue,  and 
imply  determined  to  cap- 
ture a  Holh  tar   for  his  next 
•' 

"We'll  have  to  1  '-by 

to    Lily    Damita    soon,"    Fanny    re- 
minded me.     "She  really  is  goinf 
leave  tin  She 


has  been  all  set  to  go  back  to  pictures 
two  or  three  times,  but  the  show  was 
a  big  hit.  and  they  simply  couldn't 
find  any  one  to  fill  her  part.  Armida 
wanted  too  much  money,  and  Pauline 
Garon  wasn't  realiy  strong  enough 
to  stand  all  that  dancing.  Lena  Ma- 
lena  is  the  latest  nominee  for  the  part. 
She's  good  looking  enough  and  has  a 
nice  voice,  but  unless  her  dancing 
has  improved  to  a  marked  degree,  she 
will  never  be  able  to  hit  the  pace 
Damita  has. 

"I  promised  to  find  out  if  Mar- 
jorie  White  was  in  town,  and  if 
was.  to  deliver  her  dead  or  alive  to  a 
mothers'  club  in  the  Bronx,"  --he  told 
me  breathlessly.  "They've  all  heard 
about  how  she  came  back  to  visit  her 
home  town — Toronto — a  while 
It  was  one  of  those  Home-town-girl- 
makes-good  celebrations.  light 
her  mother  a  car.  stayini  few 
',  her  to  dn  ined 
■  .thing  but  the  fire  brigade,  and 
made  the  hit  of  her 

"But   what   has  that   to  do  with   a 
mothers'  club?"   I   wailed. 

Fanny  brushed  my  query  aside  as 
i   important 

Igh.      The    mot: 
her  t  driving 


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The  MoVie  Racket 

Continued  from  page  94 


to  Dick  Arlen.  If  Danny  succeeded, 
that  would  be  enough  for  her! 

Back  in  Hollywood  next  day,  she 
went  straight  to  the  studio  offices. 
She  might  as  well  have  things  out 
with  the  heads  of  the  studio  at  once. 
Danny  had  to  work,  so  she  went 
alone,  feeling  decidedly  scared  at  one 
moment,  and  ecstatic  the  next,  be- 
cause lie  and  she  were  really  married. 

"We've  had  everybody  out  looking 
for  you  !"  the  studio  manager  told  her 
gruffly,  as  she  walked  into  his  office. 
"Where  have  you  been?" 

"I've  been  getting  married,"  she 
announced.  His  breath  left  him  as 
if  some  one  had  hit  him  in  the  stom- 
ach. 

"Married  !     Whew " 

"Yes,  I  have.  And  I  suppose  now 
you'll  all  be  through  with  me  here, 
but  I  can't  help  that."  She  hoped 
that  he  did  not  see  how  frightened 
she  was. 

"Well,  come  along  to  the  chief's 
office  and  tell  him.  And  I  hope  for 
your  sake  that  nothing  else  has  gone 
wrong  this  morning."  He  took  her 
arm  and  hurried  her  down  the  cor- 
ridor, muttering,  "This  is  a  sweet 
mess." 

Monica  told  herself  she  didn't  care; 
that  she'd  be  glad  to  be  through  with 
pictures  forever.  But  she  knew  that 
it  would  be  heartbreaking  to  leave 
the  studio,  knowing  that  she  would 
never  feel  at  home  there  again ;  that 
her  career  as  an  actress  was  over. 
It  was  doubtful  that  any  other  com- 
pany would  take  her  if  she  was  let 
out  here,  for  after  all,  what  had  she 
to  offer  in  competition  with  the  mu- 
sical-comedy players  who  were  com- 
ing out  in  droves  from  New  York? 
This  studio  was  home  now,  and  she 
didn't  want  to  leave  it.  She  could 
see  why  stars  who  retired  always 
seemed  so  pathetically  glad  to  visit 
the  scenes  of  their  triumphs,  so  re- 
luctant to  leave. 

She   told    the    news    again,    to    the 


head  of  the  company,  and  waited 
limply  for  his  ultimatum. 

"Married!"  he  repeated.  "Who's 
the  man?     Danny  who?" 

"Danny  Jordan,"  said  Monica 
proudly.     "He's  in  pictures." 

She  wanted  to  go  on  and  tell  how 
awfully  attractive  Danny  was  and 
how  good  he  would  be  in  pictures  if 
he  only  had  a  chance,  but  the  chief 
turned  to  the  telephone  and  called  the 
casting  office. 

"Send  over  some  photographs  of 
Danny  Jordan,"  he  ordered. 

He  said  nothing  to  Monica  in  the 
next  few  moments.  He  seemed  en- 
grossed in  the  papers  on  his  desk. 
When  the  photographs  came  he  stud- 
ied them  intently. 

"What's  he  done?" 

Monica  breathlessly  gave  the  de- 
tails of  Danny's  career. 

"Well,.  I  guess  he'll  do.  Now  I'm 
not  saying  I  approve  of  your  rushing 
off  and  marrying  this  way,  and  of 
picking  some  one  who  is  practically 
unknown.  But  it's  romantic,  and 
nowadays  it's  fashionable  for  young 
folks  to  get  married.  Joan  Crawford 
and  young  Fairbanks — Sue  Carol  and 
Nick  Stuart — not  a  bad  idea,  after 
all.  You  look  pretty  tired.  You  and 
he  had  better  go  off  to  Honolulu  for 
a  honeymoon.  That's  your  present 
from  the  studio.  And  when  you 
come  back,  we'll  have  you  do  some 
pictures  together.     How's  that?" 

Monica  was  speechless.  Automat- 
ically she  shook  hands  with  him,  and 
stumbled  out  of  the  office. 

In  the  corridor  she  bumped  into 
some  one,  without  even  seeing  who 
it  was.  And  Joy  Laurel,  on  her  way 
to  try  to  talk  herself  into  a  job,  stared 
after  her  furiously. 

"Getting  so  high-hat  she  doesn't 
even  know  her  old  friends,"  she  ex- 
claimed bitterly,  "and  after  all  I  did 
for  her,  too !" 

THE  END. 


Your  Chance  In  Talkies 

Continued  from  page  107 


asked.  "A  sort  of  junior  branch  of 
the  Guild.  In  this  school  Helen 
Chandler,  Marguerite  Churchill,  Syl- 
via Sidney,  and  others  making  good, 
gol   their  start. 

"I'd  try  to  remember,  though,  that 
no  matter  how  good  I  was,  or  how 
good  others  thought  me — my  chances 
would  still  remain  only  one  in  about 
two  hundred  and  fifty  of  being  no- 
ticed and  given  a  break  in  talkies. 

"And  before  I  started  to  leave  my 


little  gray  home  in  the  West,  or  down 
South  for  the  cruel  city — and  you'd 
be  surprised  just  how  cruel  it  can 
seem  to  a  starving  would-be  actor — 
I'd  make  sure  that  I  had  a  kind- 
hearted  father  and  mother  back  home 
who'd  believe  all  the  hard  luck  stor- 
ies I'd  write  in  the  course  of  getting 
my  footing  in  show  business,  and 
would  send  me  enough  money  to  tide 
me  over." 


The  Mystery  Of  Your  Name 


Continued  from  page  101 


have  changed  so  much  since  marriage 
that  their  friends  hardly  know  them? 
"You  can  tell  he  is  married,"  is  also 
a  common  phrase,  with  a  far  deeper 

lificance  than  little  habits  of  put- 
ting jnst  two  lumps  of  sugar  in  any 
lady's  coffee,  and  of  always  leaving 
rubbers  outside  the  kitchen  door. 

Two   people   who   love   each   other 

and  live  with  each  other  grow  alike, 

from  imitation,  but  because  they 

h  express  the  same  thing  in  the 
same  surroundings,  in  the  same  way, 
and  most  oi  all,  because  each  t\- 
presses  himself  through  the  other.  Is 
that  pitiful?  Not  if  you  know  what 
lovt 

ebruary  21,  1910.— You  are  born 
under  number  Seven,  which  means  that 
you  have  with  you  throughout  your  life 
an  inner  voice  that  seems  to  direct  you 
over  and  over  again,  telling  you  which 
way  to  turn  even  when  you  can  see  no 
good  reason  tor  doing  so.  Follow  this 
voice,  as  it  is  the  strongest  power  that 
you  have.  It  is  one  of  the  elements  in 
the  general  satisfaction  that  you  will  get 
out  of  living.  You  have  a  universal  out- 
look that  removes  you  from  petty  strug- 
gles, although  it  makes  it  hard  for  others 
to  understand  yi  •.;  You  are  also  very  im- 
pulsive, frank  and  active,  and  have'  fine 
for  any  teaching  or  public  speaking. 
You  will  always  have  to  work  very  hard 
for  any  material  returns,  but  your  creative 
ability  makes  it  possible  for  you  to  get 
what  you  really  make  up  your  mind  to  go 
after.  As  a  little  boy  of  three  or  four 
your  charm  made  you  the  pride  of  your 
parents'  heart,  and  up  to  ten  years"  old 
you  seemed  to  be  made  of  quicksilver. 
When  past  fifteen  you  became  more  sub- 
dued. You  had  some  head  trouble,  and 
some  one  close  to  you  died.  At  about 
fifteen  and  after  you  were  more  positive 
and  independent  than  ever  before,  and 
also,  although  this  seems  a  contradiction, 
very  romantic.  This  made  you  a  great 
attraction  to  the  girls,  for  you"  deliberately 
paid  no  attention  to  them,  and  they  flocked 
around  you.  Very  soon,  however,  vou 
will  really  fall  in  love,  and  for  the  next 
ten  years  that  will  make  you  a  little  le^s 
assured,  but  very  charming  and  pleasant 
to  live  with.  You  do  not  in  anv  way 
belong  to  the  ordinary  business  world,  but 
you  must  find  some  place  that  will  give  you 
the  opportunity   to  u>e  your  creative   and 

c    impulses    and    your    imaginv 
There  is  no  really  serious  illness  indii 

>u,  and  the  financial  depression  that 
w:Il  occur  about  forty-two  will  only  serve 
as  a  br:d:re  into  some  change  in  your  gen- 
eral  outlook  on   life  that   will   improve  it. 

'.ave  a  beautiful  name  that  is  worth 
up  to,  and  I  am  sure  that  vou  will 

. 

D.  H.  C,  October  16,   lori5.— You  have 
marvelous    power,    although    you    do 
realize    it    yourself,    b. 
good  deal  of  difficulty  up  to  the  age  of  at 
least   twenty.     But  during   the   : 
or  five  years  you  have  come   ir.' 
deal  more  money  than  before,  by  earning 
or  inheriting  are   very   fiery,  in- 

dependent,  active,    intelligent.     You   want 
to   run    everything   your-elf,   and    thei 
d  reason.    You  km 


you  wild  to  have  to  tak 

a-  you  can,  jump  right  out   into  anything 
that  will  put  yon  a:  the  head  oi  an  < 
prise,  i  wn  it  it  i>  on:  ut  stand ! 

Vou  ng  .it  men  a  low  level 

if  you  are  fi  .  and  the  freed 

what  you  need  most  N  u  are  a  born 
leader,  orator,  the  advocator  i  I  some 
e,  and  would  make  a  marvelously  suc- 
cessful lawyer,  for  you  would  bowl  any 
jury   right   over   with    your  quickneS! 

quence.  You  love  any  intellectual 
pursuit  and  would  work  your  finger  to 
the  bone  for  education.  It  will  repay  you 
in  the  end.  You  will  have  all  the  action 
you  are  looking  for,  and  it  will  bring 
you  money,  leader-hip,  power.  I  admit 
that  you  will  have  to  put  in  twenty  more 
years  of  very  hard  work,  with  a 
many  disappointments,  before  you  reach 
the  top,  but  that  won't  discourage  as  fiery, 
courageous,  and  stubborn  a  young  man  as 
you.  As  a  child  you  were  very  delicate. 
You  were  also  ill  a  good  deal  be 
twelve  and  sixteen,  and  from  sixteen  to 
twenty  you  had  a  hard  time  financially, 
but  at  present  you  are  beginning  to  sur- 
prise your  family  with  your  determination 
and  activity.  You  will  often  be  tempted 
to  marry,  especially  between  thirty  and 
thirty-six,  but  you  will  be  doing  yourself 
a  great  favor  if  you  wait  until  "you  are 
forty-one  or  forty-two.  Then  you  will 
find  real  love  that  will   satisfy  you. 

M.  M.  N.,  May  19.  1911.— You  have  an 
amazing  name,  for  every  one  of  the  four 
large  digits  of  your  name  are  number 
Nine,  the  number  of  power,  fire,  will, 
leadership,  activity,  and  independence. 
Your  only  danger  with  these  numbers  is 
that  your  nature  may  run  away  with  itself, 
but  you  are  saved  from  this  by  having 
several  negative  numbers  during  middle 
age  that  will  calm  you  down  a  bit,  so  that 
trouble  will  temper  your  natural  impulsive- 
ness and  excitability,  and  make  you  really 
get  more  satisfaction  out  of  life  than  you 
otherwise  would.  In  any  case,  nothing 
can  stop  you,  no  matter  what  happens. 
You  hate  any  kind  of  subordination,  and 
you  have  such  a  hot  temper  that  when 
you  get  angry  it  often  makes  you  ill. 
You  will  be  a  leader,  even  if  you  do  not 
seek  to  be,  and  you  are  a  wonderful 
speaker.  In  ten  years  you  are  sure  to  be 
very  succc^ful.  and  you  will  certainly 
make  all  the  money  you  will  ever  need. 
Your  extreme  self-assertion  and  inde- 
pendence makes  it  hard  for  you  to  hold 
any  young  man,   for  while  you   despise   a 

man,  that  i-  what  you  really  need.     I 
do    not   believe    that    you   will    be    able   to 

along    with    any    man    in    peace    until 
you  are  at  least  thirty-five.     By  that  time 
you    will    begin    to    develop    intuition    and 
spiritual    love,    through    trouble,    an 
the   time   you   are    forty   you    will    n. 
real.    pr<  ritual    love.      This   man 

will    be   worth    ha^  s    he 

will    '  '    will 

know  how  to  handle   ; 
him   yon   will   also   skip   a   letter 
financial   difficulty.      You   were    ill   a 

when    you    were    •  and 

red  from  the  throat  at  the  age  of 
At  about 

great   change    lomi  -i    having 

your    whole    family    move    aboi:' 
being  =cnt  away  to 

arc  beginning  to  think  about   life   wil 
capital  L,  and  you  have  the  ability  to  think 
corn  lity,  to  make 


111 


«wmm: 


How  to 
Emphasize 


P)ersonalitu 
■with  MAKE-UP  ^ 

Max  Factor,  Hollywood's  Make-Up  Genius,  Rnealr 

the  Magic  in  Make-Up,  and  Tells  Why  Every 

Woman  Should  Individualize  Her 

Make-Up  as  Screen  Stars  Do. 

HAVE  you  given  real  serious  thought  10  your  makeup ...  of 
or  are  you  just  haphazardly  using  cosmetics,  detracting  from* 
your  beauty  with  off-colors  in  make-up? 

"The  first  essential  of  make-up  is  to  have  cosmetics  in  color 
harmony",  says  Max  Factor,  Filmland's  genius  of  makeup.  "Second, 
the  color  harmony  of  the  make-up  ensemble  must  blend  with  indi- 
vidual coloring  .  .  .  whether  blonde,  brunette  or  redhead,  and  third, 
make  up  must  be  applied  so  as  to  emphasux  feature,  that  bring 
out  the  allure  of  personality." 

On  the  screen,  in  dozens  of  feature  pictures,  in  Technicolor 
pictures  like  "Bright  Lights,"  with  Dorothy  Mackaill,  you  haw 
actually  seen  the  magic  of  make-up  by  Ma«  Factor.  You  have 
seen  the  lifelike  naturalness  gamed  with  Max  Factor's  famous  dis- 
covery .  .  .  cosmetic  color  harmony. 

Now,  Max  Factor  has  perfected  a  make-up  for  day  and  evening 
use  based  on  this  same  principle     Max  Factor's  Society  Mai' 
powder,  rouge,  lipstick  and  other  make-up  essentials  to  blend  with 
every  variation  of  complexion.    Adopted  almost  instantly  by  leading 
stars,  for  social  and  every  day  use,  it  will  be  a  beauty  revelation  to  you! 

Now  you  may  learn  exactly  ..hat  color  harmony  you  should  use 
to  bring  out  your  beauty  and  charm  in  the  most  fascinating  way. 
Simply  mail  the  coupon  to  Mai  Factor  for  your  own  complexion 
analysts  make-up  color  harmony  chart  and  a  copy  of  Max  Factor's 
book.  And  you,  too.  will  discover  that  make-up  may  be  really 
magical  in  its  gift  of  beauty. 

MAX  FACTOR'S  Society  MAKE-UP 

"Connetics  of  the  Stars". . .  HOLLYWOOD 

LORITTA  YOUNG  rV.i  \***il  Strict. 
WM«xrVw»,  /iV7>»coj"i  Afjir  t>0>»i  . 
4f*f>T0*inf  iht  foi'tct   c< . 

pi  Mo  bears  JhvJWdb 


% 


MAIL  FOR   YOUR  COMPLEXION    )M/1>/) 

i mi  Sn.Ur  IM,»i«J.  r,u  n  n  in 
'  — ' p-  -f  prm  i*l"y  »»■»-  TV.  fru  fir  iflsiiri 

■OtM   io  cent,   to  co*rr  cow  o4  potugc  and  kaadltftf 


COMPLEXION 

coton  of  i  vi  s 

LT 

Pm 

COLOR  OF  LASHES 

Dry 

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MI 

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112 


wmw'H'.'miS 


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Continued  from  page  57 


NERVES? 


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could  not  sun  herself  anywhere  else 
on  the  beach  but  there,  and  threw 
herself  down  on  the  court.  Things 
looked  black  for  her,  until  Arthur 
Lake  pointed  out  that  another  mur- 
der would  do  the  movie  industry  no 
good.  So  they  decided  to  let  her 
live,  and  moved  the  court  closer  to 
the  club. 

Matty  Kemp  prefers  swimming 
and  he  and  Grant  Withers  and  Jimmy 
Hall  are  usually  to  be  found  on  a  surf 
board,  far  out  beyond  the  buoys. 

For  some  reason,  the  girls  do  not 
care  a  lot  about  swimming,  and  spend 
most  of  their  time  just  lolling  on  the 
beach. 

I,  too,  find  lolling  pleasanter  than 
either  volley  ball  or  swimming,  be- 
cause I  can  do  the  last  two  any  time, 
but  it's  not  every  day  a  guy  has  a 
chance  to  loll  with  Mary  Brian,  Sue 
Carol,  Loretta  Young,  Merna  Ken- 
nedy, Barbara  Kent,  Josephine  Dunn, 
Florence  Lake,  Dixie  Lee,  Nancy 
Dover,  Polly  Ann  Young,  Sally 
Blane,  Sally  Phipps,  Duane  Thomp- 
son, Billie  Dove,  Colleen  Moore,  and 
Claire  Windsor.  With  such  a  dis- 
play in  front  of  the  Thalian  Club,  is 
it  any  wonder  that  Santa  Monica 
beach  is  destitute  of  life  guards? 
These  gents  seem  to  think  the  hun- 
dred-foot frontage  of  the  Thalian 
Club  is  the  only  place  on  the  beach 
where  people  are  apt  to  drown,  and 
they  never  leave  that  dangerous  spot. 

The  sunsets  there  are  the  most 
beautiful  imaginable.  In  such  a  set- 
ting it  is  no  wonder  that  people  get 
"that  way"  about  each  other.  Those 
who  fall  under  the  spell  of  the  moon- 
light usually  stay  "that  way."  To 
date  eleven  couples,  both  parties 
members  of  the  club,  have  stepped 
off  the  deep  end  of  matrimony,  among 
them  Grant  Withers  and  Loretta 
Young ;  Nick  Stuart  and  Sue  Carol ; 
Mervyn  LeRoy  and  Edna  Murphy ; 
George  Lewis  and  Mary  Lou  Loh- 
mann ;  Buddy  Wattles  and  Duane 
Thompson ;  Reginald  Denny  and 
Bubbles  Steifel ;  Bill  Seiter  and 
Laura  La  Plante,  and  others  not  so 
well  known. 

At  present,  the  following  couples 
are  under  the  menace  of  the  Cali- 
fornia moon  and  show  signs  of  early 
capitulation :  Jimmy  1  Tail  and  Merna 
Kennedy ;  Sammy  Cohen  and  Carol 
Wines ;  Diane  Ellis  and  Harry 
Crocker ;  Victor  Lewis,  George's 
brother,  and  Violet  La  Plante,  Laura's 
sister;  Buddy  Rogers  and  June 
Collyer.  Nancy  Dover,  who  is  irre- 
sistible in  the  moonlight,  is  engaged 
to  practically  all  the  rest  of  the  male 
membership  of  the  club. 


The  club  meetings  are  eagerly  at- 
tended and  usually  provide  at  least  a 
modicum  of  fun.  The  night  I  at- 
tended, Alberta  Vaughn  was  being 
initiated.  Blindfolded,  she  sat  on  a 
chair  and  was  plied  with  questions, 
being  rewarded  for  correct  answers 
and  penalized  for  incorrect  ones.  The 
object  was  to  confuse  her  so  she 
would  give  incorrect  answers.  Bar- 
bara Kent  headed  the  opposition 
ticket  and  reminded  me  of  nothing 
quite  so  much  as  Julia  Faye  leading 
a  mob  in  "The  Volga  Boatman,"  as 
her  hair  streamed  around  her  face 
and  her  frenzied  yells  of  "She  doesn't 
know !"  smote  the  skies  and  made  the 
night  hideous — hideous  for  Alberta, 
anyhow. 

The  initiation  over,  everybody  had 
a  swim  in  the  Moorish  swimming 
pool  at  Jack  McDermott's  house.  His 
place  is  known  as  "The  House  that 
Jack  Built"  and  it  sprawls  all  over  a 
mountainside.  You  jump  down  a 
well  in  the  patio  and  come  out  in 
the  living  room.  You  open  a  door 
out  of  the  dining  room,  wander 
through  a  dark  tunnel  and  come  out 
in  the  garden,  halfway  down  the  side 
of  the  mountain. 

Tennis  occasionally  occupies  a  lit- 
tle time.  Bill  Dillon  holds  the  cham- 
pionship singles  among  the  men  and 
Barbara  Kent  among  the  girls. 

During  the  winter,  the  boys  have 
a  basket-ball  team.  Last  year  it  com- 
prised George  O'Brien,  Rex  Bell, 
Tommy  Carr,  Buddy  Wattles,  Har- 
old Goodwin,  Warren  Burke,  Buddy 
Rogers,  Charlie  Bohny,  Billie  Dove's 
brother,  Billy  Dillon,  Jack  Stone, 
Victor  and  George  Lewis.  They  won 
the  Hollywood  Commercial  League 
championship,  and  a  bronze  trophy  is 
proudly  displayed  on  the  mantel  of 
the  fireless  fireplace. 

From  the  ranks  of  the  Thalians 
will  come  many  of  the  stars  and  di- 
rectors of  to-morrow.  Many  of  them 
have  already  "arrived."  There  is  no 
class  distinction  here.  The  stars  and 
featured  players  are  on  a  par  with 
the  humblest  extra  or  assistant  cam- 
era man.  Any  attempt  at  ritziness 
is  met  with  such  hurrahs  and  cat- 
calls and  reminders  that  "You're  not 
at  the  studio  now — quit  acting,"  that 
the  offending  member  is  glad  to  slink 
into  a  corner. 

The  main  qualification  for  mem- 
bership is  to  be  "regular,"  since  the 
club  was  formed  for  the  enjoyment 
of  good  clean  fun  at  small  cost,  with- 
out the  disadvantage  of  being  stared 
at  like  freaks  in  a  museum.     Selah! 


II . 


The   Look   of  tke   Month 
tiniRil  from  l'.i^i'  34 

When  "Sons  «'"  Guns"  was  being 
shaped,  rumors  floated  in  from  Qt 
land  that  Damita  was  not  up  to  ex- 
itions.  But  by  the  time  the  try- 
out  tour  was  at  an  end,  the  French 
SOUbrette  had  found  herself  ;  the  New 
York  premiere  was  a  triumph  for 
her  and  Jack  Donahue. 

S  e  wants  to  play  Cuiiiillc.  That 
is  always  an  idea. 

acre-door  swains  amuse  her.  Re- 
centlv  she  sent  word  to  an  insistent, 
unknown  admirer  that  he  might  call 
at  her  ilrosin^  room,  between  the 
acts.  Then  she  dressed  her  maid  in 
her  own  >stume.  put  a  blond 

on  her.  and  giggled  behind  a  cur- 
tain while  the  young  man  blushed  his 
admiration  at  the  pseudo  Oamita. 

,\<  the  noonday  sun  filtered  warmly 
through  the  curtains.  Lily  grew  i  \- 
pansive.  "Von  do  not  ask  silly  ques- 
tions, so  I  will  tell  you  some  things," 
she  said.  "I  like  to  rouge  my  I 
sleep  in  pajamas,  ride  on  roller- 
coasters,  and  dance  to  Xegro  music. 
I  love  roosters  and  dolls.  They  fas- 
cinate me.  Oh.  yes.  I  must  tell  you — 
I  change  my  perfume  every  day. 

"What  else  shall  I  tell  you?  Shall 
I  say  that  Al  Jolson  wants  me  to 
play  in  "Sons  o'  Guns'  with  him  when 
he  makes  it  into  a  talkie  ?  And  that 
I  do  not  care  to?  Shall  I  say  that  I 
like  New  York  better  than  Holly- 
!.  but  Paris  best  of  all  the  world? 
Shall  I  tell  you  what  I  like  to  drink? 
Milk  and  honey! 

•"Would  you  like  a  leetle  drink? 
Good !  Marie,  rye,  White  Rocks,  ice, 
s'il  rous  pic 

She  explained  that  she  did  not 
smoke  or  drink,  in  fairness  to  her 
voice  and  figure.  As  a  matter  of  fact 
she  is  playing  in  "Sons  o'  Guns*' 
solely  to  develop  her  voice  for  the 
screen.  Singing  and  dancing  lessons 
are  part  of  her  daily  routine. 

She  is  anxious  to  see  "The  Green 
ne  of  the  finest  pla; 
the  season,  but  her  stage  duties  inter- 
fere. So  she  wants  to  have  a  special 
matinee  arranged.  And  it  will  be 
arranged,  no  doubt. 

Damita  succeeds  in  being  what 
Yelez  attempts  to  be — one  of  those 
madcap  minxes.  There  is  danger  in 
playing  the  irrepressible  volcai. 
sex.  but  Damita  carries  it  off  suc- 
-  fully,  simply  by  not  overdoing  it. 

'I  have  such  nice  friends  in   I 

'-:."  says  Li!  Fter  the  show 

at  night  we  have  leetle  suppers.    It  is 

gay.     But  I  will  not  work  too  hard. 

They    want   that    I    do    peectures    in 

time,  show  at  night.     I  say  r. 
am  no  damn  mule." 

And  Lily  is  perfectly  right.  She 
is  a  smart  girl. 


Less  Fsirf  — »X«»\v  You  111 


Itoih  <  omr  in 
Th<»  ICiuhi  Wnv 
Without  I-:.' Ion 

:''(•  look  tan  ye:irs  younger 
when  lluy  lose  tin  ir  6X0601  f:it.  They 

fed  r<  a  youth  and  gain  new  beauty. 
Anyone  who  naa  reduced  in  the  ri^ht 
way  will  tell  you  that  it  pa; 

The  ri^ht  waj  No  starva- 

tion, no  strenuous  .  i  ace 

has  found  that  an  uiuler-activ,  gland 
is  a  |real  cause  of  CXCBBB  f:'t.  The 
best  modern  treatments  aim  to  cor- 
rect that  deficiency.  Physicians  the 
work!  over  now  employ  that  method 
in  obesity. 

A  famous  laboratory,  years  am, 
embodied  this  method  in  a  tablet, 
called  Marmola  prescription  tablets. 
For  '22  years,  people  who  know  have 
used  them  to  control  their  fat.  T'sers 
have  told  others,  and  the  use  has 
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have  been  used  in  this  modern  fight 
on  fat. 

Everyone  can  see  the  changed  con- 
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People  everywhere  are  telling  friends 
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If  you  overweigh,  do  what  they 
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The  Marmola  prescription   ; 

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formula  complete.   The  reasons  for 
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Sold  by  all  druggists  at  $1  u  box. 
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They  Reel  Their  Own 

Continued   from  page  89 


A  nest  full  of  birdlings  intrigues 
Alec  15.  Francis,  or  a  cat  and  dog  eat- 
ing from  the  same  plate,  or  kiddies 
tea-partying  on  a  lawn  in  grown-up 
fashion.  Hiding  behind  the  shrub- 
bery, he  is  so  base  as  to  record  their 
actions.  Hobart  Bosworth  canters 
by  on  bis  white  Arabian,  and  Mr. 
Francis  films  him.  On  rainy  days, 
neighborhood  children  gather  in  his 
living  room.  He  tacks  a  sheet  on  the 
wall  and  amuses  them  with  a  very 
personal  and  special  movie  show. 

That  hill  billy,  Reginald  Denny, 
has  an  animated  atlas  of  the  San  Ber- 
nardino mountain  range.  Odd  an- 
gles, from  auto,  horse,  and  plane,  add 
novelty  to  its  geographic  value. 

Kay  Johnson  prefers  snapping 
people.  On  a  trip  to  Agua  Caliente, 
she  spent  her  daylight  hours  with  her 
camera  outside  the  hotel  and  the  ca- 
sino. Personages  and  unknowns  un- 
consciously acted  for  her.  Oh,  very 
unintentionally  !  When  friends  were 
invited  to  see  her  shots  later,  shrieks 
rent  the  air  as  stars  recognized  them- 
selves. One  woman  was  seen  emerg- 
ing from  the  casino,  gestures  and  rue- 
ful countenance  telling  the  tale  of 
gaming  losses. 

The  James  Gleasons  favor  the 
various  sport  arenas  as  locations. 
John  Mack  Brown  keeps  a  record  of 
football  games.  Once  John  forgot 
his  job  as  camera  man.  At  a  game 
this  winter  when  a  University  of 
California  boy  made  an  eighty-five- 
yard  run  for  a  touchdown,  John  be- 
came so  excited  that  he  dropped  his 
camera,  broke  the  lens,  and  missed 
recording  one  of  the  most  spectacular 
plays  of  football  history  in  the  West. 
Irene  Rich,  Ben  Turpin,  Raymond 
Griffith,  Erich  von  Stroheim,  and 
Bobby  Vernon  also  do  sport  pictures. 

Ronald  Colman's  extensive  reel  li- 
brary features  strength  and  speed. 
Notable  works  of  nature  and  of  man 
are  stellar  spots — mountains,  storms 
at  sea,  and  four  hundred  feet  pictur- 
ing the  St.  Francis  Dam.  Richard 
Barthelmess  and  William  Powell  are 
caught  in  beach  scenes.  Despite 
really  creditable  shots.  Dolman  re- 
mains unsatisfied  with  the  tennis 
tournaments  he  has  caught,  and  is 
constantly  urging  his  friends  to  dis- 
play more  action. 


That  air-minded  lad,  James  Hall, 
is  pardonably  proud  of  his  shot  of 
Colonel  Lindbergh's  take-off  from  a 
Los  Angeles  field.  Harold  Lloyd  has 
a  fondness  for  golf  films. 

While  in  the  West  filming  "The 
Vagabond  Lover,"  Rudy  Vallee 
didn't  spend  all  his  spare  time  croon- 
ing melodies,  giving  interviews  or 
squiring  Mary  Brian.  Many  hours 
were  enlivened  by  capturing  a  silver 
memory  of  Hollywood  life.  A  cam- 
era accompanied  his  rambles  about 
the  studios,  and  scenes  from  produc- 
tions were  caught  in  the  making. 

Strolling  around  the  Paramount 
studio  one  day  with  his  jitney  camera, 
he  asked  Mary  Brian  and  Buddy 
Rogers  to  pose.  Quite  a  little  drama 
— or  could  it  have  been  a  comedy? — 
was  quickly  thought  up.  Another 
fellow  was  called  to  take  the  scenes 
out  on  the  lawn,  that  Rudy  might 
participate.  The  fade-in  showed 
Buddy  leaning  against  a  cannon ;  a 
"truck  shot"  led  to  Rudy,  noncha- 
lantly preparing  to  fire  it.  Mary  hap- 
pened along.  Next,  she  was  pictured 
between  the  two  boys,  each  of  whom 
was  slipping  a  ring  on  her  finger  as 
she  said  to  both,  "I  do !"  while  the 
Reverend  Neal  Dodd,  who  happened 
to  be  passing  and  was  conscripted, 
stood  behind  them.  Perturbed  as  to 
which  was  the  groom,  the  fade-out 
depicted  the  minister  walking  away 
with  Mary  on  his  arm,  and  Rudy  and 
Buddy  left  sharing  their  chagrin. 

Conrad  Nagel  devotes  his  Sunday 
afternoons  and  leisure  days  to  pho- 
tographing his  family  at  home,  at  the 
beach,  wherever  recreation  leads 
them.  The  babyhood  of  little  Ruth  is 
an  open  screen,  as  it  were.  On  one 
occasion,  her  fourth  birthday  party, 
the  children  became  so  excited  with 
the  camera  maneuvers  that  they  fell 
backward  into  the  swimming  pool. 
By  now,  however,  Ruth  has  outgrown 
her  shyness.  Mary  Hay  Barthelmess, 
too,  has  become  blase  about  it.  Gloria 
Lloyd  really  is  a  superspecial  classic, 
though  only  a  two-by-two  bit  of  pink- 
and-gold   charm. 

Thus  far,  the  amateur  screen  is 
silent,  but  no  doubt  Hollywood  soon 
will  be  making  cinema  noise  for  its 
personal  entertainment,  as  well  as  for 
the  world. 


JOLSON'S  LAMENT 

(Apologies  to  Burns) 
I'm  o'er  young,  I'm  o'er  young.  I'm  my  mammy's  little  Al ; 

I'm  o'er  young  to  a-troupin'  go;  I'm  sick  of  warblin'  hammies-o. 

I'm  o'er  young,  'twad  be  a  sin  Save  us  from  the  troupin'  game 

To  take  me  from  my  mammy-o.  An'  take  us  to  our  mammies-o. 

Lee  Smith. 


II.-) 


Beauty  Goes  To  War 

Continued  from  pagt 


Eleanor  Boardman — the  old- fash- 
ioned girl.  The  plain,  untouched 
beauty  of  wax  Bowers.  Appropri- 
ately charming  in  passd  creations ; 
reminiscent  of  Godey  prints  and 
-.in  ncs. 

Claire  \\  indsor — the  lovely  blonde 
who  wears  filmy  chilTons  and  raffled 
things — the  airy,  graceful  beauty. 
Delightful  in  a  garden  setting,  with 
bright  tlowers.  blue  pools,  and  tall, 
clipped  hedg 

Eve  Southern — the  sfiritucllc  type. 
The  beauty  of  images,  of  tall,  lighted 
tapers.  A  mystery  strangely  com- 
pelling. Sinuous  movements  and 
haunting  eyes.  A  composite  of  a 
nun  and  a  mystic. 

Estelle  Taylor — the  beauty  of  the 
Borgias.  The  brocaded  richness  of 
medieval  Italy.  Like  sparkling  wine 
and  red  satin.  The  beauty  that  pre- 
sides over  sumptuous  feasts. 

Mary  Xolan — the  beauty  of  vanity. 
Mirrors,  powder  puffs,  bottles  of  ex- 


quisite     perfume.        Scented      baths, 

trailing  negligees.    Beauty  that  - 

'.self  \\  uli  more. 
So  we  find  that  this  symbolic 

ception  oi  beaut}   can  he  applied  to 

nearly  every  actress.      Nearly  ali 

something  that  is  reminiscent  of 
some  phase  of  loveliness,  of  some- 
thing in  the  realm  oi  beauty. 

Ask  ordinary  theatergoers  if  Mar- 
guerite Churchill,  Hetty  Compson,  or 
Joan  Crawford  is  beautiful,  and  they 
will  reply  in  a  decided  negative.  Hut 
let  them  search  the  players'  faces  for 
the  answer,  and  they  will  find  some- 
thing which  must  certainly  be  called 
beautiful. 

And  we  find  also  that  no  two  stars 
can  measure  up  to  the  same  standard 
of  beauty.  Each  one  is  beautiful  in 
her  own  individual  way,  and  each 
exerts  her  personal  charm  over  her 
watchers.  And  it  is  our  pleasure  to 
discover  what  that  hidden  charm  is. 


I  Stop  To  Look  Back 

Continued  from  page  96 


would  like  one  of  these  sandwiches 
and  a  glass  of  beer."  To  which  I  re- 
plied. "I  would  be  very  glad  to." 

I  had  never  tasted  beer  and  the 
sandwiches  she  offered  were  equally 
distasteful,  as  they  were  limburger 
ones.  However,  determined  to  make 
a  favorable  impression  regardless,  I 
drank  the  beer  and  forced  the  sand- 
wiches down  my  throat.  I  can  taste 
them  to  this  day.  However,  she  had 
no  opening  for  me. 

It  was  here  that  I  received  at  Miss 


Bonstelle's  stock  company  one  of  the 
three  greatest  thrills  I  have  had  in 
the  American  theater.  The  first  be- 
ing her  performance  in  the  "Second 
Mrs.  Tanqueray."  The  second  was 
Ben-Ami,  in  "Samson  and  Delilah," 
and  the  third  John  Barrymore,  in 
"Hamlet." 

So  finally  taking  my  sixty  dollars  I 
started  for  Toledo,  back  to  my  sweet- 
heart whom  I  hadn't  seen  since  the 
Fourth  of  July. 

TO    BE    CONTINUED. 


Hollywood   High  Lights 

Continued  from  page   100 


illness  was,"  Polly  Moran  told  us 
when  we  met  her  at  the  Metro-Gold- 
wyn  studio.  "They  can't  keep  a  girl 
like  me  away  from  the  studio  very 
long ;  they  have  to  have  a  few  laughs 
now  and  then." 

Polly  was  very  sick  when  she  had 
her  nervous  breakdown,  but  asserts 
that  she  can  go  on  for  a  long  while 
now,  before  her  pep  will  desert  her 
again.  Polly  is  one  of  the  most  in- 
dustrious entertainers  in  the  stt: 
Besides  playing  any  old  part  that  hap- 
pens along  in  pictures,  she  is  exp- 
to  spin  off  clever  talk  on  every  occa- 
sion, and  it  is  rare,  indeed,  that  she 
falls  short  of  the  anticipations  of  her 
coworkers  and  friends,  either  on  the 
set,  or  as  the  life  of  the  party. 


The  Great  Western  Epic! 

"The  Covered  Wagon"  of  the  talk- 
ies !  This  is  the  way  they  arc  non- 
exclaiming  around  the  Fox  studio 
about  "The  Big  Trail,"  and  in  view 
of  all  the  tra-la-ling  it  seems  timely 
to  recite  the  particulars. 

We  learn  that  some  20,000  people 
are  being  used  in  the  bigger  so 
that    the   picture    will    be    filmed    on 
Grandeur,  and  that  the  company  will 
be  away  on  location,  mostly  in  Wy- 
oming,   for    several    months.      Three 
hundred    Indians  are   on    the   am 
phere    list      Two    hundred    covered 
are    promised,    500   hoi 
n  and  mules,  and   15,000  head  of 
cattle.    The  rest  of  t  tics  we'll 

spare  you. 


I      PERSONAL     1 

No   One   Talks 
About   It 


ittnl 
Ihi     ilhmli, itiun    o/    <i    '<•  dutiful 

<jiii   n/<//<    thi*    advertisement. 

Mil     hi.  --.;.;.      i-     i,1     lOO     «'  rluut 

import   to  jiiniiiti  a   oomptem 

MM       UluttrttttOn         a       MttinO 

h  in,  i,  might  ii>  tin,  i  from  u„ 

'     Ihtt     m 

ml 


c?C— S\}\ 


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must  be  non-staining  and 
most  of  all  non-irritating 
and  absolutely  harmless. 

This  matter  of  perspira- 
tion and  the  deodorant  we 
use — is  not  just  an  ordi- 
nary cosmetic  problem. 
A  few  years  ago  I 
made  lengthy  research 
and  finally  evolved 
AB-SCENT— a  harmless, 
liquid  deodorant  —  con- 
taining no  staining  arti- 
ficial coloring  and  devoid 
of  any  irritating  effects. 
I  have  been  using  it  ever 
since.  Thousands  of  other 
women  have  also.  I  have 
purposely  made  the  price 
(50c)  very  low  because  I 
realize  how  much  need 
there  is  for  the  universal 
use  of  a  safe  deodorant. 

If  you  cannot  get  it  at 
your  drug  store,  depart- 
ment store  or  beauty 
shop,  I  shall  be  pleased 
to  mail  it  to  you. 


S/M-.     Ultltt 

I  AVE     UE,  NEW   VORK 


110 


Her  Strange  Handicap 

Continued  from  page  47 


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"It  was  like  old  times  to  go  over  the 
script  again  and  sing  the  half-for- 
gotten songs. 

"But  my  second  picture,  'Sweet- 
hearts,' "  she  said  smilingly,  "looks 
as  though  my  role  will  be  some- 
thing really  dramatic.  It's  a  dual 
role,  my  first  on  the  stage  or  screen, 
and  I'm — well,  I'm  intrigued  with  the 
idea !  It's  going  to  be  an  original 
screen  play." 

"How  do  you  like  Hollywood?" 
the  interviewer  asked. 

Miss  Miller  laughed.  "I  love  it. 
I'm  not  a  stranger  there  at  all.  I 
was  married  there,  you  know." 

Then  the  interviewer  recalled  that 
once  upon  a  time,  sure  enough,  Mari- 
lyn Miller  did  marry  Jack  Pickford 
in  Hollywood,  and  that  most  of  her 
wedded  life  was  spent  there.  But  she 
never  would  make  a  picture  for  the 
silent  screen. 

"I  felt  that  it  wasn't  my  line,"  she 
explained.  "Now,  of  course,  with 
sound  it's  different.  Technicolor 
makes  a  big  difference,  too. 

"I  was  nervous — terribly  nervous 
sometimes — even  though  I  enjoyed  it 
all.  I  missed  the  audience,  and  at 
first  I  had  an  awfully  hard  time  keep- 
ing within  camera  range  while  I  was 
dancing.  You  see,  I  never  dance 
twice  the  same  on  the  stage ;  I  in- 
troduce little  variations  as  the  mood 
strikes  me.  That's  part  of  the  fun  of 
being  on  the  stage.  But  making  the 
picture  was  fun,  too,  and  I'm  looking 
forward  to  my  second  one." 

Knowing  both  Hollywood  and 
Broadway  as  she  does,  Marilyn 
found  herself  in  a  group  of  friends 
when  the  cast  of  "Sally"  was  assem- 
bled. Alexander  Gray,  Joe  E. 
Brown,  Pert  Kelton,  T.  Roy  Barnes, 
Ford  Sterling — she  knew  them  all, 
and  more  besides.  "Alec"  Gray  was 
her     leading     man     in     the     original 


"Sally"  on  the  road,  and  Miss  Kel- 
ton was  with  her  in  "Sunny." 

Although  she  was  born  in  Evans- 
ville,  Indiana,  Miss  Miller's  people 
are  Southerners,  and  she  spent  most 
of  her  childhood  in  Memphis.  There 
isn't  much  Southern  accent  left  in 
her  speech  now,  but  it  still  lingers. 

"I  had  to  say,  'Yes,  sir,'  when  I 
was  acting  as  a  waitress  in  the  res- 
taurant scene,  and  I  said  'Yes,  suh.' 
Mr.  Dillon,  the  director,  made  me  do 
it  over  three  times,  before  I  stopped 
saying  it  like  a  Tennessean.  He 
nearly  had  hysterics  over  that  'suh.'  " 

When  Marilyn  Miller  is  learning  a 
song  she  has  it  played  over  and  over 
to  her,  until  she  has  memorized  the 
tune,  because  notes  and  scales  mean 
absolutely  nothing  to  her.  It's  all  a 
matter  of  sound. 

And  so,  strangely  enough,  is  her 
dancing.  In  "Rosalie,"  when  she  and 
Jack  Donahue  did  an  elaborate  tap 
dance  together,  she  learned  the  steps 
by  shutting  her  eyes  and  listening  to 
Mr.  Donahue  as  he  danced  them. 
And  in  "Rosalie"  she  learned  in  two 
days  to  beat  a  snare  drum — just  by 
listening  to  two  expert  drummers 
with  whom  she  appeared  in  the  West 
Point  scene.  The  scene  was  added 
to  the  show  at  the  last  moment  be- 
fore the  premiere  in  New  York.  She 
simply  had  to  become  a  drummer  in 
short  order — and  she  did ! 

She  declined  to  express  a  prefer- 
ence between  stage  and  screen,  but 
admitted  that  she  was  looking  for- 
ward to  her  second  engagement  in 
Hollywood. 

"You  must  have  a  great  time  out 
there,"  said  the  interviewer,  prepar- 
ing to  depart. 

"Yes,   suh !" 

And  the  laughter  of  Sally  followed 
the  departing  interviewer  down  the 
hallway. 


What  Tke  Fans  Think 

Continued  from   page    13 


turned  to  "y-'  somehow.  Therefore  his 
pronunciation  of  "gentleman"  is  close  to 
"yentleman,"  and  yet  he  makes  our  lan- 
guage  fascinating  and   beautiful. 

His  sense  of  comedy  and  scintillating 
humor  is  quite  apparent.  His  charming 
personality  captivates  his  audience.  Alto- 
gether, his  personal  appearance  was  a 
complete  success,  and  he  is  bound  to  do 
something  interesting  in  the  talkies.  I 
suggest  that  M.-G.-M.  wake  up  and  real- 
ize that  the  public  wants  Nils  Asther. 
Jane  Lyons. 

1015  Greenlcaf  Avenue, 
Wilmette,   Illinois. 

An    International    Crisis. 
Heretofore,   I  have  always  read  "What 


the  Fans  Think"  with  a  smile,  and  I  be- 
lieve in  the  right  to  have  your  own  opin- 
ions, but  the  climax  came  when  I  read 
J.   E.   R.'s   meaningless  tirade. 

I  hope  you  are  not  still  losing  sleep 
over  Gary  and  Lupe,  my  dear;  I  assure 
you  that  those  two  perfectly  human  young 
people  can  get  along  quite  nicely  without 
your  help,  and,  personally,  I  give  them  a 
great  big  hand. 

Also,  poor  dear,  I  know  just  how  you 
feel  about  Alice  White,  Anita  Page,  and 
Lupe  Velez  appearing  with  a  few  veils 
on.  You  feel  just  like  a  miserable,  un- 
loved, disagreeable  old  lady,  whose  only 
diversion  and  delight  is  gossiping  over 
her  back  fence  to  her  friends,  who  are 
just   like   you — and   may   I  add  that,    for 


117 


the  sake  oi  our  admittedly  more  broad- 
minded  generation,  1  hope  you  haven't 
many  friends!  Now,  ii  are  could  only 
get  together,  J.  K.  R  .,  1  am  sure  are  would 

..it — oh,  yeah  I — but,  hi 
me,  Alice  W  Kite,  Anita  Page,  Lope  \ 
and  all  the  rot  of  your  "aches  and  pains,' 

mipioned   by   me,   because   1 

think    they    .ire    0.    K.      1    hope    you    will 

pardon  me    for   saj  I    1   don't   think 

much  of  you,  on  tir>t  acquaintance. 

m  n   Van   N 

Salt  Lake  City,  Utah, 

Two   Queens   of   Tragedy. 
There    .ire   two   actresses   on    the    screen 
to-day   who  are   almost   equal    in    the    race 

for  the  title  "Queen  oi  Tragedy." 

are    finished    stage    players,   hut   one   has 

the    advantage    of    \outh,    and    the    other 
more    personality    and    ability.      What    an 
i  I     riment   it   would   be  it   the   ten 
difference  in  b  ei  ised  and  a 

re  made  with  the  two.  What  a  pic- 
ture! Is  it  hard  to  goess  that  I  mean 
Pauline  Frederick  and   Ruth  Chatterton? 

Tea  ...o  Pauline  Frederick  held 

□on    Ruth   Chatterton  holds 

to-day,    but    I    think    the    former    was    a 

But    time    doesn't    stand 

still,    and    now    Pauline    Frederick,    even 

with    her   power    to    portray    tragedy    still 

more  developed,   has   to   take   a   back   seat 

and   leave  the  throne  to  the   younger  ac- 

What  a  pity ! 

There  isn't  another  actress  on  the  screen 
to-day  who  has  the  peculiar  power  of 
Pauline  Frederick.  She  either  draws  or 
repels,  but  the  magic  spell  she  weaves 
holds  one  and  makes  it  impossible  to 
escape.  I  have  been  under  her  spell  for 
eleven  years,  and  shall  never  break  away. 

I  do  concede  that  Ruth  Chatterton  is 
taking  her  place  on  the  screen,  but  only 
because  of  her  youth.  If  only  Pauline 
Frederick  would  remake  "Madame  X"  as 
a  talkie,  I  am  sure  it  would  eclipse  even 
the  memorable  performance  of  Ruth  Chat- 
terton. No  matter  how  weak  a  story  may- 
be, Pauline  Frederick  can  lift  it  up  and 
make  something  of  it. 

So  hats  off  to  an  old-timer  whose  genius 
should  never  be  lost  to  the  screen — Pau- 
line Frederick.  Emma   Hartcorn. 

107-28   113th   Street, 

Richmond    H:K,   New  York. 

Picking  on  Billy. 
One    very"   amusing   and   childish    letter 
which   caught   my   eye   in   April    Picture 
Play  was  written  by  a  certain  Billy  Bid- 
dlingmeier.      Undoubtedly   this   person   re- 
little  mail,  as  he  requests  the  Alice 
rs  to  write  to  him.    It  seems 
rather  silly,  writing  to  a  mere  child,  so  I 
shall  write  my  letter  to  our  friend,  "What 
:ans   Think." 
Silly  boy !     Who  can   imagine  compar- 
ing   Mary    Pickford    and    Douglas    Fair- 
banks with  Alice  White?     No,  Billy,  these 
stars  can't  act;  for  the  past  ten  or  fifteen 
years  the  public  has  merely  boosted  them 
out  of   pity. 

.  I  can  readily  believe  you  have  the 
only  Alice  White  fan  club.  Doubtless  you 
had  a  trying  time  getting  members.  One 
would  think  a  person  could  judge  a  star's 
popularity  by  the  number  of  fan  clubs. 
Of  course,  though,  I  must  remember  that 
small  boys  arc  not  expected  to  think  things 
out;  they  just  go  ahead  and  spill  a  lot  of 
chatter. 

D   also   suggest  we   write  to  the   di- 
rectors   and    ask    them    why    Mi-    White 
mu«t     play    the     same 
Why.    Billy,    we    don't    have    to    wrr 
any  one  to   find  the  rea-on    for  that;   lit- 
..ice  couldn't    po-sibly   act   any   othrr 
part.     Will  you  picture  her  in  "The  ". 
passer,"    "Rio    Rita,"     "Anna    Chris' 


YOU   see,   im    boy,  an   BCtlTSS  Can  pl.i\ 

era!  parts,  not  one  only.  And,  1  might 
add,  the  show  girl   is  usually  the  i 

.\  ed. 

1  happened  to  see  "Broadwaj    Bal 
lt'.s  quite  evident   you  are  the  type  who 
bursts  forth  with,  "If  you  don't  luce  her, 
why  da  you  tee  heri       1  taw  "Broadway 

.'t  to  gloat  over  a  [rightful  pic- 
ture and  acting,  hut  to  see  an 
elaborate    fashion    show    thai    was    being 

staged  that  week.  It  was  the  lecond  pic- 
ture I  had  seen  starring  Alice  White,  and 
it  proved  almost  a  comedy.  With  that 
one  expression  and  the  huge  eyes  rolling 
this  way  and  that,  the  audience  was  m 
a  state  of  continual   titters. 

A  mere  suggestion,  Billy,  hut  why  not 
pick  out  a  nice  large  tub  of  cold  water 
am!  duck  your  one-track  head  in  it.     1' 

sibly  you'd  come  out  a  sadder  hut  wiser 
lad.  M  uu  i  \    Ai  1 1  \. 

Vancouver,    Hritish    Columbia. 

That  Terrible  Mustache   Habit. 

I,  also,  wish  to  back  Mai  in  I..  Hesse 
up  in  her  campaign  against  decorating 
the  best-looking  men  in  nlnulom  with  silly 
and  utterly  foolish  mustaches.  I  adore 
John  Boles,  and  it  did  not  take  "Rio  Rita" 
to  help  me  find  this  out.  I  remember 
him  when  Gloria  Swanson  first  gave  him  a 
lead  in  "The  Love  of  Sunya."  I  would 
certainly  adore  him  even  more  if  he  did 
not  have  the  little  mustache.  I  cannot 
tolerate  John  Gilbert  with  one,  and  I  sim- 
ply cannot  imagine  good-looking  Richard 
Arlen  with  one.  He  is  too  young  and 
handsome  to  be  made  to  wear  one  of  those 
terrible  things. 

I  would  like  to  tell  Runty  d'Alton  that 
Neil  Hamilton  is  one  of  the  finest,  clean- 
est-cut actors  on  the  screen.  His  acting 
is  mild,  but  very  serious.  He  is  tin- 
American  type ;  he  is  good  looking  and 
can  give  very  pleasing  love  interest  to 
any  picture.  I  am  sorry  that  d'Alton 
has  gotten  the  wrong  impression  of  a 
fine-looking  man  who  should  some  day 
be  better  known  to  Mr.  and  Mrs.  Public. 
Neil  reminds  me  a  great  deal  of  Law- 
rence Gray,  who  stole  "Marianne."  They 
both  appeal  to  me,  and  I  am  betting  on 
them.  A  Movie  Fax. 

Dover,  Delaware. 

Our   Bow! 

It  is  easy  for  any  fan  to  realize  how 
the  movies  have  grown  within  the  last 
few  years,  but  how  many  of  us  have 
noticed  how  well  Picture  Play  has  ad- 
vanced also? 

Naturally,  I  did  not  think  this  change 
was  so  great,  until  I  compared  an  eleven- 
year-old  issue  with  Picture  Play  of  to- 
day. And  what  a  surprise!  Instead  of 
the  Picture  Play  we  now  know,  we  find 
a  little,  undersized,  cheaply  made  publi- 
cation greatly  resembling  one  of  our  old 
paper-back  novels. 

On  the  contents  page  we  don't  see  the 
name  of  a  writer  we  know.  After  the 
single  film  advertisement,  we  notice  tl 

"What  the  Fans  Think"  at  all.    Our 
old    favorites    do    not    compare    so 
with  those  of  to-day,  as  the  latter   have 
the  rotogravure  system  while  the  sta- 
yc-sterday  are  in  plain  black  and   w: 

We     also     find     interviews    with     >' 
Pickford,   William   Stovall,   Pauline  Fred- 
crick,     Madlaine    'I 

little  Gloria  Joy,  and   Fannie  Ward.     Pic- 
tures   of    the    stars    of    that    day    arc    nu- 
merous, and  how  the  styles  have  ch:, 
since    \'J\')' 

I'.ut,    all    in    all,   our    Pict 

the 
'ay. 

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Yegor! 

Across    the   steppes    there   comes    a   voice, 

A  silver  peal  to  make  rejoice 

The  silence  of  the  lonely  trail, 

To   triumph  o'er  the   wind's   wild  wail. 

The    forest's    virgin    strength    he'll    bring, 
With    joyous   golden   tones   he'll   sing 
Of   war  and  beauty,  hate  and  love, 
And  gently  of  the  stars  above. 

Primeval  seas  and  mountains  strong 
Are  lashed  with  passion  in  his  song. 
The  storms,  the  sun,  the  furies'  game, 
Gleam   in   his  eyes  as  blue  as  flame. 

The  ice  and  fire  of  conquering  race 
Glow   in  the  rhythm  of  his  grace; 
in  a  tapestry  no   life  can  span 
Lives  Yegor,  lover,  rogue,  and  man ! 

Alice  Menaker. 
1270   Gerard  Avenue, 
New  York  City. 

On  Both  Sides,   Mary? 

How  any  one  with  an  ounce  of  brains 
can  prefer  the  uneducated,  brash  morons 
of  the  late  departed  silent  screen  to  the 
educated,  self-controlled,  English-speak- 
ing people  of  the  stage  is  beyond  me.  The 
silent  picture,  however,  did  not  die  wholly 
on  account  of  the  talkies,  but  chiefly  be- 
cause the  pictures  were  getting  worse  and 
worse   and    the   acting   more    incompetent. 


The  players  had  gone  as  far  as  they 
could,  and,  lacking  poise  and  culture,  were 
unable  to  portray  anything  but  common, 
often  vulgar,  episodes,  showing  that  beauty 
without  brains  is  a  total  loss  when  tested 
by  time.  The  great  American  public, 
among  them  many  conservative  men  and 
women  of  brains,  considered  it  an  insult 
to  their  intelligence  to  be  shown  such 
worthless  pictures,  and  to  have  to  witness 
the  continuous  murdering  of  the  art  of 
acting. 

Thousands  of  people  who  had  dropped 
pictures  in  disgust  are  now  flocking,  al- 
most nightly,  to  the  talking  pictures  with 
stage  stars.  They  are  not  seeking  the 
pretty  face  which,  alas,  they  realize  never 
reflected  intelligence,  but  earnestly  desire 
competent  acting,  which  is  a  thing  of 
beauty,  when  strengthened  by  an  intelli- 
gent and  sympathetic  understanding  of 
the  role. 

To  my  surprise,  one  of  the  leading  stage 
stars  was  a  great  flop  here  in  Boston. 
The  people  walked  out  in  dozens  from 
the  first  showing  of  "Sally."  Marilyn 
Miller  was  a  great  disappointment.  Many 
people  thought  she  was  pretty,  but  the 
keen  eye  of  the  camera  showed  her  to  be 
far  from  pretty,  overweight,  and  no  longer 
young. 

Mary  Weld. 

19  Bay  Street, 
Roxbury,  Massachusetts. 


A  Confidential  Guide  To  Current  Releases 


Continued   from  page  69 


ing,  and  gives  the  gal  the  air — that's 
when  Fannie  Brice  sings  about  her  man 
in  the  old  Brice  manner.  Robert  Arm- 
strong excellent  as  prize  fighter.  Ger- 
trude  Astor,   Harry   Green. 

"Case  of  Sergeant  Grischa,  The" — 
RKO.  A  Russian  peasant  is  ground 
beneath  the  German  war  machine.  Ear- 
nest story  made  unconvincing  by  med- 
ley of  accents,  and  Chester  Morris  too 
alert  for  doomed  peasant.  Betty  Comp- 
son,  Alec  B.  Francis,  Gustav  von  Seyf- 
fertitz,  Jean  Hersholt. 

"Slightly  Scarlet" — Paramount.  When 
two  jewel  thieves  meet  at  a  safe,  what 
can  you  expect?  Love,  of  course.  Clive 
Brook,  Evelyn  Brent,  the  thieves,  with 
Eugene  Pallette,  Paul  Lukas,  Helen 
Ware,  Henry  Wadsworth,  Virginia 
Bruce  providing  good  acting  that  saves 
trite  story. 

"Road  House  Nights" — Paramount. 
Interesting  story  of  bootlegging  pro- 
prietor of  road  house,  introducing  Clay- 
ton, Jackson,  and  Durante,  famous 
night-club  entertainers.  Charles  Rug- 
gles  clever,  and  Helen  Morgan  her  own 
unique  self.  Fred  Kohler  a  striking 
villain. 

"Such  Men  Are  Dangerous" — Fox. 
Elinor  Glyn's  brain  child  filmed,  show- 
ing effect  of  plastic  surgery  on  a  man's 
face,  voice,  and  general  appeal.  Com- 
plicated supertriangle  plot,  with  millions 
and  spurned  love.  Warner  Baxter, 
Catherine  Dale  Owen,  Albert  Conti, 
Iledda  Hopper. 

"Lady  To  Love,  A" — Metro-Goldwyn. 
Yilma  Banky's  first  all-talking  effort  is 
admirable.  A  grape  grower  picks  a 
waitress  for  his  wife,  sends  her  a  young 
man's  photo  as  his  own,  and  things  hap- 
pen. Edward  G.  Robinson  brilliant, 
Robert  Ames  satisfactory  as  young  man. 

"Only  the  Brave" — Paramount.  Gary 
Cooper    in    role    of    spy    who    must    be 


caught,  to  mislead  the  Confederates,  is 
pleasant  and  likable.  Mary  Brian  and 
others  struggle  unsuccessfully  with  the 
Southern  drawl.  Philipps  Holmes  ef- 
fective as  jealous  rival. 

"Dangerous  Paradise"  —  Paramount. 
Conrad's  "Victory,"  story  of  the  tropics, 
with  Nancy  Carroll  and  Richard  Arlen. 
Nancy  flees  to  Arlen's  retreat  for  pro- 
tection, and  conflict  encourages  love 
against  the  man's  wishes.  Good  di- 
rection and  acting. 

"Puttin'  On  the  Ritz"— United  Art- 
ists. Technicolor  sequence.  Story  of 
vaudeville  singer  who  makes  good  as 
night-club  proprietor.  Some  clever 
staging,  routine  story  of  man  who 
atones  for  sins  by  alcoholic  blindness. 
Joan  Bennett,  Lilyan  Tashman,  Aileen 
Pringle,  James  Gleason  steal  show  from 
nominal  star,  Harry  Richman. 

"Son  of  the  Gods" — First  National. 
Well-directed  story,  with  Richard  Bar- 
thelmess  as  foster  son  of  Chinaman, 
believed  Chinese  himself.  Society 
woman — everybody  meets  the  Four 
Hundred  in  films — horsewhips  him  and 
then  loves  him.  Then  he  turns  out  to 
be  white.  Constance  Bennett,  Frank 
Albertson. 

"Lummox" — United  Artists.  Wini- 
fred Westover's  touching  portrayal  of 
a  kitchen  drudge's  lifelong  fight  for  vir- 
tue, with  one  error,  one  betrayal,  and 
finally  a  cozy  haven.  Big  cast,  all  do- 
ing well.  Dorothy  Janis,  Ben  Lyon, 
William  Collier,  Jr.,  E.dna  Murphy,  Sid- 
ney Franklin. 

"Night  Ride" — Universal.  Dialogue. 
Stage  newcomer,  Edward  G.  Robinson, 
gives  fine  performance  in  contrast  to 
overacting  of  Joseph  Schildkraut,  as 
reporter  who  takes  gangster  for  a  ride. 
Barbara  Kent  and  the  late  Lydia  Yea- 
mans  Titus. 

"Love  Parade,  The" — Paramount. 
Dialogue,  singing.     Technicolor.     Mau- 


119 


rice    Chevalier's    second    film,   story   oi 
long-drawn-out  duel  of  the  sexes,   i  ro- 
ce  in  song.     Music  not  quite  haunt- 
ing, but  bright  touches  in  narrative,  in 

of  much  repetition  of  main  MS 
love    scale.  M.-.cD    nald,    Lu- 

pino  Lane.  Lillian  Roth. 

RECOMMENDED— WITH 
RESERVATIONS. 

"Captain    of    the    Guard" — Universal. 

Bombastic     and     dull,     yet      pretentious 

French   Revolution.     Laura    La 

Plante  as   leader  of   rebel   group.     John 

Boles    pi     -     -     singer    but    inadequate 

scene    not    enough    to 

childish  operetta. 

Young  Eagles" — Paramount.  Two 
-  w  the  horror  of  war  the  same 
month  it  is  pictured  as  a  pink-tea  lark 
for  young-  fledglings  who  play  with  air- 
planes and  think  up  cute  jokes.  War 
ou  like  it.  Buddy  Rogers,  Paul 
Lukas,  Jean  Arthur. 

"Alias  French  Gertie"— RKO.     Mod- 
dull    crook    melodrama     in     which 
Bebe    Daniels    is    a    safe    robber    posing 
as    a    maid.      Ben    Lyon    makes    up    for 
performance  in  "Lummox."     Creditable 
rmance  by   Miss   Daniels. 

"Cock  o-  the  Walk"— Sono-Art.  Ef- 
gone  wrong,  recalling  foreign  pic- 
5  of  decade  ago.  Man  lives  on 
money  wheedled  from  women.  Over- 
done drama  gives  Joseph  Schildkraut 
rare  chance  to  display  affectations. 
Myrna   Loy  appealing.     Curious    film. 

"Lilies  of  the  Field" — First  National. 
Corinne  Griffith  does  a  tap  dance  on  a 
piano,  and  joins  a  rowdy  show  after  a 
divorce  on  fraudulent  grounds.  Only 
tepidly  i:  John   Loder,  Ralph 

Forbes.  Freeman  Wood. 

"Lord  Byron  of  Broadway" — Metro- 
Goldwyn.  Technicolor  sequences.  In- 
different picture  that  may  have  had  a 
good  idea  at  the  start.  Philandering 
song  writer  played  by  Charles  Kal 
newcomer.  Marion  Shilling  refreshing 
— in  appearance.  Ethelind  Terry,  Cliff 
Edwards,  Benny  Rubin,  the  latter  funny 
at  times. 

"Cameo  Kirby"  —  Fox.  Steamboat- 
gambler  picture  that  echoes  "Show 
Boat."  Trite  story  about  a  plantation 
lost  at  cards,  the  lovely  daughter  of 
the  colonel,  and  gallant  card  sharp. 
Norma  Terris,  J.  Harold  Murray, 
Douglas  Gilmore.  Myrna  Loy,  Charles 
Morton,   Robert   Edeson. 

"No,  No,  Nanette" — First  National. 
All  dialogue.  Technicolor  sequence. 
Mildly  amusing  old-fashioned  farce  that 
goes  musical  at  the  finsh.  Exposure 
of  Bible  publisher's  innocuous  love  life. 
Alexander  Gray,  Bernice  Claire,  Lilyan 
Tashman.  Louise  Fazenda.  Lucien  Lit- 
tlefield,   Zasu   Pitts,   Bert   Roach. 

This    Thing     Called     Love"—  Pathe. 
Much    gabbling    in    so- 
called    sophisticated    vein,    about    noth- 
in  particular.     Man  and  girl  marry 
without  benefit  of  love,  and  there's  end- 
complication.     Constance    Bennett, 
Edmund    Lowe,    Zasu    Pitts,    Carmelita 
;ghty,    Ruth   Taylor. 

"South     Sea     Rose"— Fox.      All    dia- 
logue.    The   torrid    Lcnore   Ulric   more 
at    home    as    hula    dancer,    yet    flaws    in 
acting,   directing,    and    costuming   make 
.     South  Sea  girl  in  prim   New 
>nd.      Charles    Bickford,    Kenneth 
Kenna. 


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120 

Continued  from  page  102 
featured  on  the  New  York  stage  last  sea- 
son in  "Sons  o'  Guns,"  but  she  is  still 
under  contract  to  Samuel  Goldwyn. 
M\rna  Loy  played  the  part  of  the  native 
in  "The  Desert  Song."  Jobyna  Ralston 
lives  at  Toluca  Lake,  California.  Nina 
Quartaro  plays  in  pictures  only  occasion- 
ally; her  must  recent  film  was  "Monsieur 
le  Fox,"  for  Metro-Goldwyn.  You  might 
try  her  at  that  studio.  Louise  Fazenda's 
latest  pictures  are  "High  Society  Blues," 
"Loose  Ankles,"  "Wide  Open,"  and  "Rain 
or  Shine." 

Another  Fan. — There  you  go,  asking 
for  answers  in  "the  next  issue,"  which 
is  already  on  its  way  to  news  stands  far 
from  New  York  by  the  time  you  get  this 
one.  Johnny  Hines'  screen  career  was  in- 
terrupted, but  now  he  is  to  make  "The 
Medicine  Man."  Charles  Morton  and 
Caryl  Lincoln  were  the  hero  and  heroine 
in  "Wolf  Fangs."  What  do  you  mean 
by  the  leads  in  "Varieties"?  "Vitaphone 
Varieties"  is  the  general  name  for  all 
Warner  Brothers'  short  subjects.  Do  you 
mean  the  film,  "Variety,"  with  Emil  Jan- 
nings  and  Lya  de  Putti?  "River  of  Ro- 
mance" is  the  talkie  version,  and  "The 
Fighting  Coward"  the  silent  one,  of  the 
stage  play,  "Magnolia."  Cullen  Landis 
and  Mary  Astor  played  in  "The  Fighting 
Coward." 

Tranpee. — I  give  up — what  did  you  sign 
yourself?  Robert  Montgomery  was  born 
in  Beacon,  New  York,  May  21,  1904. 
He  is  six  feet  tall  and  has  brown  hair 
and  blue  eyes.  He  was  a  leading  man  on 
the  New  York  stage  when  he  was  signed 
by  Metro-Goldwyn. 

Bill  Boyd  Forever. — He  can't  last  that 
long!  Glad  you  enjoyed  the  story  and 
picture  of  Bill.  Picture  Play  would  be 
glad  to  publish  interesting  anecdotes  about 
him — or  any  one — every  month,  if  there 
were  enough  interesting  ones  to  publish. 

Julian  Arnold. — As  you  see,  we  have 
recorded  George  Duryea's  address  with 
the  others.  And  thanks  for  your  nice 
letter.  I'd  be  delighted  to  become  an  hon- 
orary member  of  your  George  Duryea  club 
— if  I  don't  have  to  write  any  more  let- 
ters! 

A  George  O'Brien  Fan. — What's  be- 
come of  all  his  fans?     No  one  has  asked 


Information,  Please 

me  about  him  lately,  except  you.  George 
is  30  years  old,  five  feet  eleven,  and  weighs 
176.  George,  and  Lois  Moran,  and  now 
Dorothy  Mackaill,  can  be  reached  at  Fox 
studio;  Ronald  Colman,  in  care  of  Samuel 
Goldwyn,  7210  Santa  Monica  Boulevard, 
Hollywood ;  Dorothy  Sebastian  at  Metro- 
Goldwyn.  Baclanova  is  no  longer  in  films, 
but  is  touring  in  vaudeville. 

A  Redhead. — Yes,  I  get  tired  answering 
questions,  but  think  how  much  more  tired 
I'd  be  digging  ditches !  Victor  Varconi 
is  in  Berlin,  but  expects  to  return  to 
America  soon;  he  has  no  permanent  ad- 
dress at  present.  Buddy  Rogers  says  he 
is  not  engaged  to  any  one.  Yes,  he  is 
American,  from  Kansas,  and  Corinne 
Griffith  is  from  Texas.  Mary  Pickford  has 
not  announced  any  intention  of  growing 
her  curls  again.  Gloria  Swanson  has  dark 
hair  and  gray  eyes. 

Gay. — That  picture  at  the  top  of  the  page 
doesn't  do  me  justice,  if  I  do  say  so  my- 
self !  Ted  Lewis  has  dark  hair  and  eyes, 
and  came  from  Ohio,  which  makes  him 
American.  I  don't  know  whether  there's 
a  little  woman  at  home.  Ruth  Etting 
can  be  reached  at  the  Ziegfeld  Theater, 
West  Fifty-fourth  Street,  New  York 
City;  Helen  Morgan  at  the  Paramount 
studio,  Astoria,  Long  Island.  Helen  is 
about  29,  Helen  Kane  in  her  early  twen- 
ties. I  doubt  if  Rudy  Vallee  was  thinking 
of  Mary  Brian  in  his  song,  "M-A-R-Y, 
Mary."  He  was  probably  thinking  of  the 
thousands  of  Marys  listening  in,  who 
could  imagine  the  song  addressed  to  them  I 

Cherrie  Lou. — Little  Anita  Louise  Fre- 
mault  can  be  reached  at  the  Paramount 
Studio,  Hollywood. 

Marie  Ziebarth. — I  hope  the  first  time 
you've  written  me  won't  be  the  last !  Let- 
ters are  answered  personally  upon  re- 
quest, and  it's  a  thoughtful  idea  to  in- 
close a  self-addressed,  stamped  envelope. 
Nazimova  has  been  appearing  on  the  New 
York  stage  for  the  past  two  seasons. 
Harry  Carey  has  been  stalking  wild  ani- 
mals or  something  in  Africa  for  some 
time,  playing  in  the  film  version  of 
"Trader  Horn."  He's  back  in  Holly- 
wood now.  Theda  Bara  retired  from  the 
screen  when  her  style  of  siren  went  out 
of   fashion;   her  attempted   comeback  was 


a  failure.  J.  Warren  Kerrigan  hasn't 
made  any  pictures  in  six  years — and  I 
understand  he  doesn't  want  to. 

Lucille  of  Milwaukee. — There's  a  con- 
test in  the  offing,  isn't  there?  This  old 
nose  knows !  Wallace  Beery's  former 
teammate  was  Raymond  Hatton.  Glenn 
Tryon  was  the  star  of  Universal's  1929 
special,  "Broadway."  Joseph  Schildkraut 
made  his  film  debut  in  "Orphans  of  the 
Storm." 

Lucille. — I'm  glad  I  helped  you  out 
once  before,  because  I'm  not  much  good 
to  you  this  time  about  David  Newell. 
He's  still  New-ell  to  me — that  is,  I  know 
of  him,  but  not  about  him.  The  dirt  about 
James  Murray,  as  you  put  it,  is  that  he 
"went  Hollywood"  for  a  while,  but  you 
can  see  him  in  "College  Racketeer."  Joel 
McCrea  is  eighteen  years  old  and  a  for- 
mer football  player.  His  father  was  sec- 
retary of  the  Los  Angeles  Gas  &  Electric 
Co.  Joel  played  a  hit  in  a  college  picture, 
then  a  talking-picture  test  got  him  a  con- 
tract with  RKO.     He  is  six  feet  two. 

Up-to-date  Viking  Girl. — And  I  can't 
give  you  any  information  that  will  make 
you  any  upper-to-date !  Or  should  it  be 
up-to-dater?  All  I  know  about  Harry 
Woods  is  that  he  is  an  obscure  actor 
who  plays  in  Westerns ;  "Silver  Comes 
Through,"  "Red  Riders  of  Canada," 
"Jesse  James,"  and  "The  Sunset  Legion" 
are  some  of  his  films. 

Pattie  Middlehurst. — Am  I  pleased  be- 
cause you  like  my  page  the  best  of  all? 
Am  I!  That  just  makes  it  Christmas 
for  me.  And  I'll  be  delighted  to  keep  a 
record  of  your  Barry  Norton-Paul  Page 
club.  Paul  was  born  in  Birmingham, 
Alabama,  May  13,  1903.  He  was  mar- 
ried July  8,   1929,  to  Edith  Allis. 

Haruo  Inohara,  1515  Kihara  Yama, 
Omori,  Tokyo,  Japan,  would  like  to  hear 
from  other  admirers  of  David  Rollins, 
William  Bakewell,  and  Greta  Garbo. 

Clarence  Mills. — To  join  the  William 
Haines  club,  write  to  Miss  Tillie  Shirley 
Kabes,  829  Winnebago  Street,  Milwaukee, 
Wisconsin.  The  Greta  Garbo  club  near- 
est you  has  headquarters  with  Miss  El- 
nora  Rodenbaugh,  Baird  Avenue  and 
Fourth   Street,   Barberton,   Ohio. 


Richard  Arlen,  Mary  Brian,  Neil  Hamilton, 
Warner  Oland,  Until  Chatterton,  Florence 
Vldor,  Clara  Bow,  Clive  Brook,  Charles 
("Buddy"i  Rogers,  Gary  Cooper,  James  Hall, 
William  Powell,  Nancy  Carroll,  Jean  Arthur, 
Jack  Oakie,  Kay  Francis,  David  Newell,  Fred- 
ric  March,  Jcanelte  MacDonald,  Lillian  Roth, 
Richard  Gallagher,  Blitz!  Green,  Harry  Green, 
at    Paramount   Studio,   Hollywood,   California. 

Greta  Garbo,  Leila  Hyams,  Bessie  Love, 
Edward  Nugent,  (liven  Lee,  Ramon  Novarro, 
Norma  Shearer,  John  Gilbert,  William 
Haines,  I. on  Chaney,  Renfie  Adoree,  Marion 
Davies,  Robert  Montgomery,  Ray  Johnson, 
Karl  Dane,  Dorothy  Sebastian,  Lionel  Barry- 
more,  Charles  King,  Raymond  Haekett,  Wal- 
lace  Beery,  Raquel  Torres,  Joan  Crawford, 
Nils  Aether,  Conrad  Nagel,  Josephine  Dunn, 
Anita  Page,  Buster  Keaton,  John  Mack 
Brown,  Lewis  Stone,  at  the  Metro-Goldwyn 
Studio.  Culver   City.   California. 

Vilma  Banky,  Ronald  Colman,  Douglas 
Fairbanks,  Mary  Pickford,  Norma  Talmadge, 
Cheater  Morris,  Gilbert  Roland.  Don  Alva- 
rado,  Joan  Bennett,  Dolores  del  Rio,  and 
Mona  Rico  at  the  United  Artists  Studio,  7100 
Santa  Monica  Boulevard,  Los  Angeles,  Cali- 
fornia. 

Colleen  Moore,  Jack  Mulhall,  Alexander 
Gray,  Bernice  Claire,  Billie  Dove,  Richard 
Barthelmess,  Dorothy  Mackaill,  Corinne 
Griffith,  Aliee  White.  Ian  Keith,  and  Douglas 
Fairbanks,  Jr.,  at  the  First  National  Studio, 
Burbank,   California. 

I.upe  Velez,  Mary  Nolan,  Merna  Kennedy, 
Hoot  Gibson,  Laura  La  I'lante,  Barbara  Kent, 
(Jli  nn    Tryon,    Ken    Maynard,    Joseph    Schlld- 


Addresses  Of  Placers 

kraut,  at  the  Universal  Studio,  Universal 
City,  California. 

William  Boyd,  Robert  Armstrong,  Alan 
Hale,  Jeanette  Loff,  Carol  Lombard,  Ann 
Harding,  Helen  Twelvetrees,  and  Russell 
Gleason,  at  the  Pathe  Studio,  Culver  City, 
California. 

George  O'Brien,  Edmund  Lowe,  Earle  Foxe, 
Janet  Gaynor,  Kenneth  MacKenna,  Dixie  Lee, 
Mona  Maris,  Fifi  Dorsay,  Charles  Farrell, 
Victor  MaeLaglen,  Lois  Moran,  Frank  Al- 
bertson,  Farrell  MacDonald,  Marguerite 
Churchill,  Paul  Muni,  Lola  Lane,  Paul  Page, 
Louise  Dresser,  David  Rollins,  Sue  Carol, 
Warner  Baxter,  Sharon  Lynn,  and  Mary 
Duncan,  at  the  Fox  Studio,  Western  Avenue, 
Hollywood,  California. 

Edna  Murphy,  John  Barrymore,  Al  Jolson, 
at  the  Warner  Studios,  Sunset  and  Bronson, 
Los  Angeles,  California. 

Sally  Plane,  Hugh  Trevor,  Bebe  Daniels, 
Betty  Compson,  Olive  Borden,  and  Richard 
Dix,  at  the  RKO  Studio,  780  Gower  Street, 
Hollywood.  California. 

Allene  Ray,  0012  Hollywood  Boulevard, 
Hollywood,  California. 

Robert  Frazer,  6356  La  Mirada  Avenue, 
Los   Angeles,    California. 

Patsy  Ruth  Miller,  808  Crescent  Drive, 
Beverly  Hills,  California. 

Robert  Agnew,  6357  La  Mirada  Avenue, 
Hollywood,   California. 

Dorothy  Revier,  1367  North  Wilton  Place, 
Los   Angeles,  California. 

Julanne  Johnston,  Garden  Court  Apart- 
ments, Hollywood,  California. 

Malcolm  McGregor,  6043  Selma  Avenue, 
Hollywood,    California. 


Jackie  Coogan,  673  South  Oxford  Avenue, 
Los  Angeles,  California. 

Ivor  Novello,  11  Aldwych,  London,  W.  C.  2, 
England. 

Harold  Lloyd,  6640  Santa  Monica  Boule- 
vard, Hollywood,  California. 

Anna  May  Wong,  241  N.  Figueroa  Street, 
Los  Angeles,  California. 

Eileen  Percy,  154  Beechwood  Drive,  Los 
Angeles,  California. 

Herbert  Rawlinson,  1735  Highland  Street, 
Los  Angeles,  California. 

Forrest  Stanley,  604  Crescent  Drive,  Bev- 
erly Hills,  California. 

Gertrude  Astor,  1421  Queen's  Way,  Holly- 
wood, California. 

Lloyd  Hughes,  616  Taft  Building,  Holly- 
wood, California. 

Virginia  Brown  Faire,  1212  Gower  Street, 
Hollywood,  California. 

Johnny  Hines,  Tec-Art  Studio,  5360  Mel- 
rose Avenue,  Hollywood,  California. 

Theodore  von  Eltz,  1722  %  Las  Palmas, 
Hollywood,  California. 

William  S.  Hart,  6404  Sunset  Boulevard, 
Hollywood,  California. 

Estelle  Taylor,  5254  Los  Feliz  Boulevard, 
Los  Angeles,  California. 

Pat  O'Malley,  1832  Taft  Avenue,  Los  An- 
geles, California. 

Ruth  Roland,  3828  Wilshire  Boulevard,  Los 
Angeles,  California. 

Gilda  Gray,  22  East  Sixtieth  Street,  New 
York  City. 

Barry  Norton,  855  West  Thirty-fourth 
Street.  Los  Angeles,  California. 

George  Duryea.  5959  •  Franklin  Avenue, 
Hollywood,   California. 


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She  Saved  His  Life  And  Then— 

And  then  she  found  that  all  sorts  of  complications  followed  when 
the  man  whose  life  you  have  saved  turns  out  to  be  a  most  attractive 
artist. 

Strong  in  many  things,  but  weak  where  he  loved.  Fane  Torrence, 
whom  Gwytha  had  snatched  from  death  in  his  little  studio  in  Green- 
wich Village,  had  more  than  his  share  of  the  artist's  pride  and  tem- 
perament.     But    Gwytha    herself,    a    wise,    modern,    up-to-the-minute 

girl,  knew  very  well  what 
she  wanted,  and  her  method 
of  getting  it,  makes  a  story 
which  holds  you  to  the  very 
end.  Ask  your  dealer  to- 
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I*  - 


His  Studio 
Wife 

By 
VIOLET  GORDON 


On  the  cover  of  this  book 
are  the  famous  letters  CH. 
That  is  the  mark  of  good 
reading.  Books  bearing  this 
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Chelsea  House,  one  of  the  oldest  and  best-established  publishing 
concerns  in  the  United  States.  Chelsea  House  love  stories  are  the 
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f 


n, wings  or  song 


and  waves 
of  color* 


zi 


\* 


Pffl 


LAWRE  N  CE     Tl  BBETT 

Noted  Metropolitan  Opera  star  raises  the  talking  screen 
to  new  heights  in  THE  ROGUE  SONG,  Metro-Goldwyn- 
Mayer's    magnificent   All -Technicolor   musical    drama. 

^TECHNICOLOR  IS 
NATURAL  COLOR 


L 


AWRENCE  TIBBETT!  Never,  you're  tempt- 
ed to  say,  has  the  screen  been  turned  over  to 
such  a  superb  personality.  To  such  a  dy- 
namic actor.  To  such  a  brilliant,  roguish,  lov- 
able king  of  song!  In  Technicolor,  the  Tibbett 
of  opera  fame  appears  before  you  in  one 
sweeping,  indelible  surge  of  reality!  From 
curtain-rise  to  finale,  "The  Rogue  Song"  pul- 
sates with  intrigue,  romance,  drama — with 
the  sheer  resplendence  of  its  two  irresistible 
stars,  Tibbett  and  Technicolor!  See  it.  Marvel 
at  it.  Move  through  it,  Ihrilled  by  the  en- 
chantment of  natural  color  truly  interpreted! 

SOME      OF      THE 
TECHNICOLOR      PRODUCTIONS 

BRIDE  OF  THE  REGIMENT,  with  Vivienne  Segal  (First  National); 
DIXIANA,  with  Bebe  Daniels  (Radio  Pictures);  GOLDEN  DAWN, 
with  Walter  Woolf  and  Vivienne  Segal  (Warner  Bros.) ;  KING  OF 
JAZZ,  starring  Paul  Whiteman  (Universal);  MLLE.  MODISTE,  with 
Bernice  Claire,  Walter  Pidgeon  and  Edward  Everett  Horton  (First 
National);  PARAMOUNT  ON  PARADE,  all-star  cast  (Paramount); 
SONG  OF  THE  FLAME,  with  Bernice  Claire  and  Alexander  Gray 
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Vivienne  Segal  (Warner  Bros.);  THE  CUCKOOS,  with  Bert 
Wheeler,  Robert  Woolsey  and  Dorothy  Lee  (Radio  Pictures); 
THE  MARCH  OF  TIME,  all-star  cast  (Metro-Goldwyn-Mayer), 
Technicolor  Sequences;  THE  VAGABOND  KING,  starring  Dennis 
King  with  Jeanette  MacDonald  (Paramount). 


fcoior 


tEAD  THE  BEST-STREET  &  SMITHS  MAGAZINES 

paraph 


\Featunn6 

I    Big   New 
Serial*  -  - 

ABES  IN 
LLYWOOD 


SEPT. 
1030 


DOVE 
reo  by 

iT  STEIN 


4 


The  complete 
guide-book 


IK  YOU'VE  been  a  tourist  in  foreign  lands,  you've  prob- 
ably come  to  have  a  high  regard  for  one  or  another  of 
the  standard  guide-books.  Surrounded  by  strange  scenes, 
strange  names,  and  with  your  time  limited,  you  have 
turned  with  relief  to  any  volume  which  tells  you  on  good 
authority  where  to  go  and  what  to  do. 

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light.  Without  an  up-to-date  guide-book  of  merchan- 
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most  casual  trip  to  the  stores  would  be  more  or  less  like 
a  ramble  in  foreign  countries. 

We're  speaking  of  the  advertisements,  of  course.  If 
it  weren't  for  the  advertisements  you  would  be  a  stranger 
in  the  market,  surrounded  by  strange  names,  strange 
brands.  Buying  would  be  guessing,  unless  you  tested 
every  article  you  wanted  before  you  bought  it. 

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minutes,  and  buy  with  confidence  instead  of  suspicion 
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tently advertised  goods  must  maintain  standard  quality. 


Take  full  advantage  of  the  great 

guide-book  of  this  modern  age  .  .  .  read  the 

advertisements  every  day 


3 


SHE    CANT    PLAY    A    NOTE" 


This  1 1  be  Funny 

they  shouted  as  she 
sat  down  to  play 

out  a  minute  later. . . 


til    Gl'ESS    we're    star*    right    here    for    the 

*    afternoon.''   sighed  Jaae.  us  the  rain   be- 

tz.\D    eoaaiag    down    in    torrents.      The    usual 

crowd  always  gathered  at   t J««-  dob  on  after- 

-  such  as  this. 

'his  ni'-aiis  more  hridge,  and  I'm 
t i r»-.  1  of  that."  said  John  Thompson.  "Can*! 
wr  tad  something  different — something  un- 
to do?" 
•  W.ll.  lore  conies  Sally  Barrow.  She 
might  •■If  r  some  solution  to  the  problem," 
sugge*tc.i  Jimmy  Paraoaa,  with  ■  laugh. 

Qy  !      Unfortunately    she    wa.s    con- 

r •  1  >   overweight.     It   wem«Ml  «he  was  just 

heavy    and    plump.      But    the 

was  H  jolly  and  full 

of   I 

■  !!•  ..    rybody."    came    Bally'i    eheery 

gr«-«-tli  .         '•'■     it's  new?" 

••That '-  jii-r  it.  Bally.     We  were  trying  to 
find   Mme   excitement    and    we're   just    about 
•I   the  end  of   our   rope,"   replied  John. 
•Would  it  nrprlae  you  if  I  played  ■   tone 
or  two   for  you   on    the   piano?      I'm    not   aw- 
fully t  '•  ''tit   I'll  trj  '■ 

-   Ily?     Don'l  !»•  funny!"     The 
v<-r>    Idea   of   Sally  having  tal- 
ent    in     at  'l     struck 
joke        Ballj 
natun  d  tbougl 

-  mind    1« 
— a-  lohn    Thompson 

n     in     the    laughter. 
liked    John    -more    than 
lo    admit. 


I     to     v 

a,"     they     t1 

anil    Ju«t     a»    If    «he 
plavlnr    for 

!!•  r     I:  ■    ■ 


couldn't  believe  their  ears  !  Bally  continued 
to  play  one  lively  tnm-  after  another.  Some 
danced  while  others  gathered  around  tin- 
piano  and  sang. 

"finally  she  finished  and  rose  from  the 
piano.  John  Thompson  was  at  her  side  Im- 
mediately, brimming  over  with  curiosity.  II'' 
never  knew  she  could  play  a  note. 

"Where  did  you  learn?  Who  was  your 
teacher?'  John  asked.  -Why  didn't  you  tell 
me  about  it  sooner?" 

"It'>    a    secret     ami    I    won't    tell    von    a 

thing     about     It-.'.-,    except     that     I     had     no 
•  r  !"  retorted   Hotly. 

Sally's  sin as  that  afternoon  opened  np  o 

world  of  new  pleasures.  John,  particularly, 
took  a  new  and  decided  Interest  in  Bally. 
.More  and  more  they  were  seen  in  each  oth- 
er*! company.  But  it  was  only  after  eon 
Biderable  teasing  on  John's  part  that  Bally 
told  him  the  secret  of  her  new  found  musical 
ability. 


Sally's  Secret 


Rally     broke 
Brnadw.iv    bit 


Learn 

to  Play 

by   Note 

Pian* 

VMM 

Brass 

CIviMt 

UapMf 

Flute 

Saieehene 

Treabeae 

Harp 

Poc.l. 

Mindelin 

•r.ii. 

Hmliaa 

st"l   Guitar 

Mat 

Soiling 

Vein  aad 

SsmcS  Culture 

Dru«% 

»ad   Tr.pi 

Aatoaatlc 

F lafar   Central 

Bu|t   (Pit 

rtruai.    VStrine 

•r 

Teaer) 

PJaas 

Atterdiea 

1  tafias 

aad    Gcrajan 

Accerdiea 

Htr»ir  ■ 

ad   Ceiaeetitiea 

"You    may   laugh    when    I    t.ll   yon."   Bally 
"but   I   learned  to  pldy  at   Dome,  with- 
out   a     teacher        Von 
happened     to     see     ■      I 

Bel I      of     Music     advertlae 

roent.     It  offered  a   Free  Dem 

■  •list  ration  ,.    I    wrote 

lor    it.       When     It     came    and 
1    saw    how    easy    It    all 

•  for  the  compli 
What    plea*  d    me    moat    was 
that     I     was     playing     simple 
runes  by  note  right  from  tin- 
Whj  . 

A  H  ' '  to  follow 
the  dear  print  and  picture 
Illustrations,    tl  with 

the    I. 

iio.-t     all     the     popular     mu 
think       the 

■  j  r* 


Today.  Sally  is  one  of  the  most  popular 
girls  in  her  set  And  we  don't  need  to  tell 
you  that  she  and  John  are  now  engaged! 

The  story   is   typical.      The  amazing   mi 

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ing   leaaon    of    this    surprising    course.      Sou 

Can't  go  wrong,  First  you  are  told  how  lo 
do  it.  then  a  picture  »hoh>»  you  how,  and 
then    yott    do    it    jnursclf    and    hear    It. 

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time      right    in    your   own    home,    without    anv 

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VolumeXXXIlI  CONTENTS    FOR    SEPTEMBER,    1930  Number  1 

The  attire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 


What  the  Fans  Think 

Our  readers  have  their  say. 

Babes   in   Hollywood Inez  Sabastian 

Beginning  the  most  delightful  of  all   serials. 

Between  the  Stars  and  the  Fans       .... 

The  secretaries  stand  as  vigilant  guardians. 

For  Better,  or  for  Worse?         ..... 

How  the  talkies  have  altered  certain  stars. 


Over  the  Top  with  Lew    ..... 
Fame's  searchlight  reveals  Lewis  Ayres  bewildered. 

The  Mystery  of  Your  Name     .... 

The  science  of  numbers  tells  all. 

The  Incomparable  Chevalier      .... 

An  intimate  glimpse  of  the  famous  Frenchman. 

Laura — As  She  Is 

Miss    La    Plante    contradicts    your    impression    of    her. 


Willia.:.  H.  McKegg  . 
Edwin  Schallert  . 
Samuel  Richard  Mook 
Monica  Andrea  Shenston 
Malcolm  H.  Oettinger 
Margaret  Reid 
Carroll  Graham 


Hollywood  Rides  its  Goats         ..... 

Some  horrible  examples  are  wittily  identified. 

The  Last  of  Mr.  Chaney Myrtle  Gebhart    . 

What  Lon  says  is  his  final   interview. 

Over   the   Teacups The   Bystander     . 

Fanny  the  Fan  suffers  no  summer  doldrums. 

When  a  Lady  Rolls  for  Luck Samuel  Richard  Mook 

The  amazing  role  chance  has  played  in  Helen  Twelvetrees'   life. 

Hollywood   High   Lights Edwin  and  Elza  Schallert 

News  and  gossip  of  the  movie  capital. 

His  Way  with  Women Helen   Klumph 

It  makes  "Philadelphia"  Jack  O'Brien  popular  with  stars. 

I  Stop  to  Look  Back .     Neil  Hamilton 

Continuing  the   autobiography   of   a   leading   man. 

A  Confidential  Guide  to  Current  Releases 

Tabloid  tips  on  pictures  now  showing. 

The  Screen   in   Review Norbert  Lusk 

Pages  from  our  critic's   log  book. 

He's  Here  to  Stay Madeline    Glass 

Nils  Asther  is  neither  retiring,  nor  returning  to  Sweden. 

The  Boulevard  Directory Margaret  Reid 

A  visit  to  a  shop  favored  by  the  stars. 

Farewell  to  Three  Bad  Ones H.  A.  Woodmansee 

The  talkies  have  overturned  a  trio  of  thrones. 

Are  These  Stars  Doomed? William  H.  McKegg 

The  peril  of  standardized  roles  is  held  up  as  a  warning. 

Information,  Please  ...  ....     The   Oracle  . 

Authoritative  answers  to  readers'  questions. 


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Monthlv  nubllratlnn  issued  hv  Street  &  Smith  Publications,  Inc..  79-89  Seventh  Avenue,  New  York  City.  Ormond  G.  Smith,  President;  George  C. 
Bm?tb  VlM T&Mldent  ar!d  ftmiunr:  George  C.  Smith.  Jr.,  Vice  President;  Ormond  V.  Gould.  Secretary.  Copyright.  1930.  by  Street  &  Smith  Pub- 
llcVtlons  Inr  New  York  Convr  ght  19S0  by  Street  &  Smith  Publications.  Inc..  Great  Britain.  Entered  as  Second-class  Matter,  March  6, 
1918    at  tl \, ?  Post    Ofllc  e  at   N  •«    York     \    Y.     under  Act  of   Congress  of  March  3,   1879.     Canadian  Subscription.   $2.86.     Foreign,   $3.22. 


We  do   not  accept   responsibility  for  the   return   of   unsolicited    manuscripts. 
To  facilitate  handling,   the  author  should   inclose  a  self-addressed  envelope  with  the  requisite   postage  attached. 

STREET   &   SMITH   PUBLICATIONS,   INC.,   79  7th  AVE.,   NEW   YORK,  N.  Y. 


Illlllllllllllllllllll Illll Illl [|||l!!|lilll!llll!lllllll!!lllllllllllll!!l!llll!ll!IIIIUIIII!|illlllllU^  IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIlL 


Greatest  wonder  in 

an  age  of  wonders! 


Talking  motion  jticttires! 
Today*!  greatest  \aluc   1st  entertain* 

mint!  ScjTtW  star-,  once  hut  mo%iug 
shadow -v  vou  see  ami  hear!  The  living 
voice-   of   GUMMA    stage    stars    come    to 

>ou !  Song  hit-  of  tin-  da\  «>m  the  screen! 
New  personalities  born.  New  types  of 
entertainment  created.  Bcrause  the 
world's  foremost  .-tar-,  author-,  direc 
tor-.  OOaapQSen  arc  now  i  urn  i mi  ating 
their  talents  on  the  >ilit>\!  Go  often 
—  a-  often  a-  it'- a  Paramount  Picture— 
^thc  best  shotc  in  lutcn!" 


"I     LOVK    YOt  " 

v  — but  you  /nil)'  flaunted  *<#*T^2' 

$ociety  and  must  /»<i  > .' 


JA(K 
OAK  IK 


JE.WETTE 
MacIIO>ALD 


in 


' "LET-S  «.o  \ATIVF/ 

A  mail,  merry  mu-iral  faree  w  itli  a  hand 
picked    ea-t    of   Hollywood    fun    maker- 

ineluiliii^:  Skeeta  Gallagher,  Jaasea  Hall, 

Kav  F  rami-.  Lupine  I'allette.  A^  i  1 1  i.ini 
Vu-tin.   Il>    (icorge   Marion,  Jr.,  author 

of  "Sweetie"  anil  "Safety  in  Number-"' 

and  I'l-riv  Heath.  Direeteil  l>\  I. en 
M.  <   .ir.  v.   Mu-ic  b}   Kir-hard  A.  Whiting. 

Lyric- h\  (.ciir»f  Clarion.  Jr. 


^MANSLAUGHTER" 

inn,  CLALDETTE  COLBERT  ««</  Fredrie  March 


The  gripping  story  of  a  spoiled  darling 
of  society,  who  thought  the  world  her 
playground  and  almost  proved  it  until 
Fate  took  a  hand,  stripped  her  of  her  pride 
and  power,  and  threw  her  into  prison  to 
fall  in  love  with  the  man  who  jailed  her! 


PARAMOUNT  SOI  XII 
NEWS  . .  luivv  irvvlihf 

The  live-t  sound  new-  i-  Paramount! 
See  it  —  eompare  it  with  any  other  for 
hree/.y.  timely  new-  of  the  day.  -Inking 
|ier-onalilii •-.  -how  man-hi|>  —  then  a-k 
your  Theatre  Manager  to  make  it  a  reg- 
ular part  of  his  program. 


On  the  Air! 

Tune  in  on  your  favorite  -erc«n  -tar- 
in  the  Paramount  Pnl>li\  Kadio  Hour 
each  SaMrday  Night,  DM  l   P.  M.  Eastern 

Daylight  >a\iiiL'    I  ''"'•  omt  the  Columhia 
Droadca-ling  >y-lem. 


P».R*W0INT  PI  BUX  (0RP0RUION.    »DOI  PH   /I  MiR.   PR»S 


-   -     ■  ■ 


With  Claudette  Colbert,  Fredrie  March, 

Emma  Dunn.  Natalie  Moorhead,  Hilda 
Vaughn  and  Stanlej  Field-..  Direeteil  hy 
George  Abbott,  from  the  famoii-  Satur- 
day Evening  Post  serial  ami  no\el  by 
Alice  Ducr  Miller. 


««G  II  (JM  ■•  Y  " 

starring  i  Villi.  MAUM 

Nn\>  Paramount  presents  on  ibe  talking 

-.  i .  c  1 1  the  ili-lingiii-hcil  -lar  <  >  ril  Mamie 
in  hi-  mn-t  EuMMM  rule,  "t.ru  ni|>% ."  Y\  ilh 
Philips  Holme-.  Paul  Ink  a-.  I  rami-  D.i  ili  . 

Paul   Caranagh.   Direeteil   bj   George 

Cukor  ami  <  >ril  hnrilmr.  I  rum  the  pltrj 
bi    Horace    Hodge-    uu<l     i.    L.    Pcnwul. 


Cpictur&s 

V_^  PARlMOl  NT   BI  IID.V,     MW\ORK 


0 


#%w 


made  SUNNY  SIDE  UP  the  most  popular 
motion  picture  of  the  past  year? 
....  YOU  did  —with  the  tickets 
you  bought  at  the  box  offices  all 
over  the  country ....  Who  made 
THE  COCKEYED  WORLD  the  run- 
ner-up?. . ..  YOU   again  —  with 

your  spontaneous  approval,  registered  by  cash   paid  for  tickets  at  the 

box  office,  of  the  rough  and  ready  wit  and  humor  of  McLaglen  and  Lowe. 

Who  were  the  year's  favorite  actor  and  actress? ....  Janet  Gaynor 

and  Charles  Farrell,  overwhelmingly  voted  the  most 

popular   in    polls   conducted    by   both   the   Chicago 

Tribune  and  the  New  York  Daily  News,  the  two  largest 

newspapers   in  their  respective  cities. . . .  Who  won 

the  coveted  Photoplay  Gold  Medal  for  the  past  two 

years  ?  . . .  FOX — last  year  with  John  Ford's  FOUR  SONS 

—  year  before  last  with  Frank  Borzage's  7th  HEAVEN. 

....Who  cast  the  winning   ballots  for  Gaynor  and 

Farrell  ?  . .  . .  Nobody  but  YOU Who  has  already 

decided  what  kind  of  pictures  we  will  produce  and 

leading  houses  everywhere  will  feature 
during  the  coming  year  ?  . .  .  .YOU,  of 
course — because  you  have,  in  terms 
that  can't  be  mistaken,  placed  your  ap- 
proval on  what  FOX  has  done  in  the 
past  and  told  us  what  you  like  . . .  .Will 
you  get  it?  ...  .  Look  at  this  line-up  of 
new  productions  now  on  their  way  to 
you!  ....  Janet    Gaynor    and    Charles 

Farrell  in  OH,  FOR  A  man! — another  sure-fire  hit, 

produced    under  the   masterly  direction   of   the 

man   who   made  SUNNY  SIDE  UP,  David  Butler.... 

McLaglen    and    Lowe    chasing    WOMEN     OF    ALL 

NATIONS  —  in  the  further  rollicking  adventures  of 

Flagg    and   Quirt — from  the   story   by  Laurence 

Stallings    and    Maxwell    Anderson,    authors    of 

WHAT  PRICE   GLORY.      Direction   by  Raoul  Walsh. 

What  a   line-up!....  Charlie  Farrell  in   his  greatest  part  of  all,  as  Liliom, 


SIXTY 


OTHER) 


1 


AND 


MILLION 


CANT 


WRONG 


in   DEVIL  WITH  WOMEN,  from    Franz   Molnar's 

international  stage  success And  Charlie 

will  also  entertain  you  in  three  other  great 
pictures  during  the  year  —  THE  MAN  WHO 
CAME  BACK,  with  Louise  Huntington;  THE 
PRINCESS  AND  THE  PLUMBER,  with  Maureen 
O'Sullivan,  the   find  of   the   year;   and    SHE'S 

MY  GIRL,    with    Joyce    Compton In    UP  THE 

RIVER,  a  new  kind  of  prison  story,  John  Ford 
is  striving  to  surpass  Ms  own  Photoplay  Gold 

Medal  winner,  POUR  SONS.   In  this  picture  appears  Cherie,  daughter  of 

Warden    Lawes,   and    a    great   cast   of   established  ^    m 

screen    favorites  ....  Frank    Borzage,    Gold    Meda 

winner  of  the  previous  year,  will  give  you  four  great 

pictures  —  SONG    O"    MY    HEART,    introducing     to    the 

screen   the   golden   voice  and  vibrant  personality  of 

the    great    Irish    tenor,   John    McCormack  —  two    of 

Charlie   Farrell's    new  pictures,  THE   man   WHO   CAME 

BACK  and    DEVIL  WITH  WOMEN  — and    ALONE  WITH  YOU, 

in    which    Janet    Gaynor   will    insinuate    herself   still 

more  deeply  into  your  affections ..  ..The  honor  most 

coveted  by  the  motion  picture  actor  is  the  annual  award  of  the  Academy 

of  Motion  Pictures.  Warner  Baxter  is  the  latest  recipient  of  this  honor — 
won  by  his  magnificent  characterization  of  the  Cisco 
Kid  in  IN  OLD  ARIZONA.  Warner,  lovable  bandit  and 
idol  of  the  feminine  heart,  will  give  you  four  big 
pictures  ....  If  you  saw  Will  Rogers  in  THEY  HAD 
TO  SEE  PARIS,  or  SO  THIS  IS  LONDON,  you  will  cheer  the 
announcement    of  two   more   pictures   by  America's 

incomparable  comic:  A  CONNECTICUT  YANKEE, 

perhaps   Mark   Twain's   funniest    story,  and 

SEE  AMERICA  FIRST  ....    DeSylva,  Brown  and 

Henderson  —  the    Gilbert    and    Sullivan    of 

our  day — will   follow   their   smash   success, 

SUNNY   SIDE    UP    with    JUST    imagine,    clever, 

gay,  tuneful    and    funny.      The    cast    will    be    headed     by    Maureen 

O'Sullivan    and    El    Brendel  ....   We    made    the    pictures — but  YOU 

asked   for  them — and   you   and   sixty  million   others  can't   be  wrong! 


I< 


What  the  Fans  Think 


Is  Politeness  Obsolete? 

ONE  reads  continually  in  magazines  that  people  cry 
for  more  intellectual  pictures  and  that  they're  tired 
of  revues.  If  you  ask  me,  I  don't  think  most 
movie  audiences  know  what  to  do  with  a  picture  that 
requires  thinking. 

For  example,  take  "Journey's  End,"  which  happens 
to  be  the  last  picture  I  saw  at  which  the  giggling  brigade 
was  heard  in  all  its  glory. 

In  the  scene  where  Hibbert  is  to  decide  between  de- 
sertion and  death  at  the  hands  of  Captain  Stanhope,  and 
finally  choosing  death,  the  audience  giggled.  An  amaz- 
ing number,  too !  Not  laughing,  but  plain  silly  giggling. 
They  giggled  because  Hibbert  gasps.  The  only  explana- 
tion I  can  give  for  their  action  is  they  couldn't  picture 
the  emotions  Hibbert  experienced  all  the  weary  months 
in  the  trenches,  his  continual  fear,  his  cowardice,  his 
final  decision — things  that  would  lead  up  to  his  emo- 
tional break.  Did  the  gigglers  expect  him  to  look  pretty 
and  say  sweetly,  "Go  ahead  and  shoot  me"?  All  they 
could  understand  was  just  what  they  saw  and  heard, 
and  to  them  it  was  funny.     Just  plain  inanity,  I  say. 

Captain  Stanhope  later  says  something  that  made  me 
smile,  for  it  seemed  to  solve  my  question  as  to  just  why 
they  laughed.  He  speaks  about  what  a  pity  it  must  be 
to  be  without  imagination.  He  takes  as  an  example  the 
cook  who  he  said  would  only  see  the  stars  when  looking 
at  the  sky.  So  with  the  gigglers  looking  at  a  picture. 
They  see  only  the  surface  and  nothing  that  might  be 
underneath. 

That's  just  one  picture.  It  happens  during  many 
others.  Movie  audiences  in  general  are  below  par. 
They  laugh  when  love  scenes  are  shown.  Laugh,  laugh, 
laugh.  Outside  of  a  comedy  or  a  joke,  a  theater  is  one 
place  where  the  adage,  "Laugh  and  the  world  laughs 
with  you,"  doesn't  hold  true. 

Then  there's  always  the  case  where  something  off 
color  is  being  shown.  The  men,  quite  often  women, 
sneer  to  show  that  they  were  smart  enough  to  get  it.  It 
doesn't  help  the  situation  any.  A  perfect  example  of  this 
was  "The  River." 

And,  oli,  how  often  one  person  leaves  his  seat  and 
about  twenty  others  do  a  marathon  toward  that  one  seat. 

To  say  nothing  of  the  continual  talking,  or  explaining 
of  the  picture  going  on. 

Politeness?  Seems  to  me  that  word  was  popular  years 
back,  hut   is  now  becoming  obsolete. 


It  is  said  people  very  seldom  act  their  natural  self. 
Just  watch  an  audience  and  you'll  get  oodles  of  nat- 
uralness. 

Be  more  considerate,  please.  And  try,  anyway,  to 
act  as  if  you  knew  what  the  picture  was  about,  not  only 
with  respect  to  what  is  shown  and  heard,  but  also  un- 
seen facts  that  lead  up  to  what  is  portrayed. 

Jean   Haehngen. 

1206  Washington  Street, 
Hoboken,  New  Jersey. 

"Conceit"  Retitled. 

Every  one  has  had  something  to  say  about  Barthel- 
mess'  rudeness  and  conceit.  Now  let  me  tell  of  another. 
A  player — I  can't  in  fairness  to  the  profession  say  artist 
— was  in  New  York  making  a  personal  appearance.  A 
friend  of  mine  wrote  this  fellow  a  beautiful  note  telling 
him  how  very  much  she  admired  his  work  on  the  screen, 
and  how  pleased  she  was  at  seeing  him  in  person.  It 
wasn't  a  silly,  gushing  schoolgirl  letter,  but  a  lovely  note 
of  encouragement,  with  no  mention  of  a  photograph. 
My  friend  so  admired  this  player,  she  painted  a  picture 
of  him  in  oil,  copying  it  from  a  magazine  picture. 

You  may  imagine  her  embarrassment  to  receive,  after 
he  returned  to  the  Coast,  a  printed  postal  card  informing 
her  that  she  might  have  a  photograph  of  him  from  ten 
cents  to  one  dollar.  My  friend  being  out  of  the  city, 
the  card  was  left  on  a  table  in  the  hall  for  several  days, 
where  every  one  in  the  house  could  see  it,  and  she  was 
kidded  plenty.     Conceit,  Rogers  is  thy  name. 

B.  M.  K. 

Hotel  Manger, 

New  York  City.  N.  Y. 

What  Can  She  Do? 

The  letters  slamming  Alice  White  are  amusing,  so  long 
as  the  fans  are  not  too  sarcastic,  for  adverse  criticism  is 
to  be  expected.  Haven't  virtually  all  the  well-known 
players  had  their  share  of  panning?  At  some  time  or 
other,  somebody  has  found  fault  with  them.  Hasn't 
Gary  Cooper  been  accused  of  being  high  hat  and  Lupe 
Velez  too  exuberant  in  public  regarding  her  love  affairs  ? 
If  the  girls  don't  appear  scantily  clad,  aren't  they  called 
prudes,  and  if  they  do,  immodest? 

What  really  angered  me,  though,  was  M.  D.  Kashmer's 
letter  about  Alice  White,  saying  that  although  people 
Continued  on  page   10 


10 

Continued  from  page  8 
had  written  letters  "absolutely  ripping  her 
to  pieces,  she  still  marches  on  as  con- 
ceited a>  ever."  What  does  that  fan  want 
the  pour  K'rl  to  dp?  Go  off  in  a  corner 
and  cry  her  eyes  out,  because  a  few  people 
don't  like  her:  Has  M.  1).  never  heard 
the  fable  of  a  man,  who,  in  trying  to 
please  all,  pleased  none?  Evidently  Alice 
-  some,  for  she's  still  on  the  screen. 
The  more  she  ignores  the  unkind  things 
said  about  her  by  fans  who  have  nothing 
but  criticize  others,  the  more  I  ad- 
mire  her. 

1  suppose,  naturally,  she  desires  every 
one  to  like  her,  but  since  they  don't,  why 
let  it  -poll  her  life?  It  should -be  enough 
for  her,  if  she  knows  she's  doing  her  best. 
We  are  always  ready  to  talk  about  those 
in  the  public  eye,  anyway,  no  matter 
whether  they  are  kings,  queens,  presidents, 
movie  stars,  or  what  have  you? 

And  if  it  isn't  Alice  White  the  fans 
are  talking  about,  it  is  some  one  else.  Sev- 
eral fan  writers  in  June  Picture  Play 
said  harsh  things  of  Mary  Brian.  After 
all  this  time,  why  pick  on  her?  I  think 
there  is  less  cause  to  criticize  her  than 
Alice  White,  but  I  suppose  it's  her  turn 
to  be  "disciplined."  The  fans  don't  want 
to  slight  any  one,  do  they?  I  only  hope 
she  pays  no  attention  to  the  insults. 

Victoria,  Texas.  Onita  Haas. 

Gilbert's  Voice  in  Australia. 

When  will  the  detractors  of  John  Gil- 
bert cease  attacking  one  of  the  screen's 
greatest  actors?  I  have  been  a  Gilbert 
fan  for  many  years — ever  since  the  days 
of  "Shame"  and  "Monte  Cristo,"  and 
I've  seen  Jack  criticized  again  and  again. 
His  private  life  seems  to  hold  a  peculiar 
fascination  for  writers,  who  seek  to  cover 
their  own  inability  to  say  anything  worth 
while  by  slandering  one  who  is  more  suc- 
cessful than  they.  I've  heard  Jack  blamed 
for  the  Gilbert-Garbo  films  by  people 
who  did  not  realize  that  the  box  office 
rules  the  screen,  and  if  the  public  wants 
trash  the  producers  see  that  they  get  it. 
I've  seen  his  fine  pictures,  "The  Snob," 
"Man,  Woman,  and  Sin,"  and  "Four 
Walls,"  grudgingly  praised  by  reviewers; 
but  this  last  injustice — injustice  both  to 
Gilbert  and  to  his  loyal  fans — is  too  much 
to  be  borne,  so  I'll  explain  it  from  the 
beginning. 

I  have  attended  the  talkies  three  times 
a  week  from  their  introduction  to  the 
screen,  so  after  reading  the  kind  notices 
most  of  the  stars  received  on  their  ad- 
vent in  the  new  field,  and  having  my  own 
opinion  after  hearing  those  voices,  I  felt 
pretty  sure  that  even  if  Jack's  first  talkie 
wasn't  a  complete  success,  at  least  he 
would  be  given  the  consideration  meted 
out  to  the  other  stars.  I  was  mistaken. 
The  reviews  were  not  kind ;  they  were 
not  even  just.  They  criticized  Jack's 
voice  unmercifully,  and  blamed  him  for 
faults  in  the  picture  which  were  the  di- 
rector's. 

Then  I  went  with  misgivings  to  see 
and  hear  this  much-derided  film,  because 
if  all  I  read  was  true,  then  Jack  was  fin- 
ished as  a  star.  I  needn't  have  worried, 
nor  need  Jack  worry  over  his  voice.  It 
isn't  perfect,  but  I've  yet  to  hear  a  per- 
fect voice  from  the  screen.  It  has  not 
the  sepulchral  tones  of  some,  nor  is  it 
the  booming  "hcre-I-come"  type,  but  it 
certainly  suits  Gilbert  It's  just  the  voice 
I  would  have  wished  for  him,  and  he 
makes  a  far  better  showing  than  some 
st.irs  in  their  first  audible  films. 
_  One  thing  in  particular  about  "His  Glo- 
rious Nighr'  seemed  to  afford  the  rcview- 
(  rs  an  amount  of  jealous  satisfaction,  and 
that  was  that  during  the  love  scenes  the 
audience  tittered — for  which  they  ungen- 
erously  blamed   Gilbert's   love-making. 


Wkat  the  Fans  Tkink 

Now,  we  are  a  long  way  from  that 
American  audience,  and  when  "His  Glo- 
rious Night"  was  shown  before  three  thou- 
sand people  at  our  theater,  did  they  titter? 
Sure,  they  did!  But,  a  fortnight  before, 
at  the  same  theater,  the  audience  found 
much  more  to  laugh  at  in  Paul  Muni's 
somber  tragedy  "The  Valiant."  So  it 
seems  that  the  manners  of  the  audience, 
rather  than  the  methods  of  the  actor,  are 
to  blame. 

But  it  must  be  remembered  that  very 
few  people  can  watch  and  listen  to  emo- 
tion in  silence.  In  the  legitimate  theater, 
tense  scenes  are  usually  accompanied  by 
coughs,  fidgetings,  and  so  on,  so  it  is 
hardly  to  be  expected  that  a  huge  movie 
audience,  made  up  of  so  many  diverse 
elements,  should  be  able  to  control  their 
embarrassment  at  hearing  words  spoken 
that   formerly  were  printed. 

Surely  this  is  a  problem  for  the  pro- 
ducers, and  not  a  cudgel  in  the  hands  of 
writers  to  use  for  the  puTpose  of  striking 
at  the  well-deserved  popularity  of  a  great 
actor.  One  Gilbertian. 

485  Vulture  Street, 

East  Brisbane,  Australia. 

Do  They  Need  a  Shave? 

Since  Picture  Play  printed  so  many 
letters  defending  Ramon  Novarro  in  the 
May  issue,  it  is  strange  that  so  few  are 
published  in  defense  of  Lillian  Gish. 

I  am  always  glad  to  see  Ramon  No- 
varro defended,  but  the  lady  who  signs 
herself  "One  of  His  Fans,"  from  Eng- 
land, does  him  an  even  greater  service 
in  demanding  better  stories  for  her  fa- 
vorite actor,  and,  in  a  friendly  way,  criti- 
cizing his  occasional  carelessness  in 
make-up,  though  why  any  one  should 
want  a  man  with  his  hair  sleeked  down 
perpetually  is  -beyond  me.  There  are 
other  actors,  however,  who  share  Novar- 
ro's  occasional  neglect  in  another  mat- 
ter. Ronald  •Colman  looked  only  half 
shaved  in  bits  of  "Bulldog  Drummond" ; 
Barthelmess  was  terrible  in  "The  Show 
of  Shows'' — carelessly  shaved  and  look- 
ing like  a  tired  .business  man.  We  can 
see  badly  shaved  men  any  day  in  the  week. 

What  I  chiefly  want  to  say  is  that  I  en- 
joyed Novarro's  singing  in  "Devil-May- 
Care"  very  much.  His  voice  has  a  very 
nice  quality ;  and  every  one  who  has  ever 
sung  at  all  knows  it  is  much  harder  to 
sing  well  softly  than  to  pierce  one's  ear- 
drums with  a  harsh  sound. 

S.   Carroll. 

Box  4271,  Germantown, 
Philadelphia,    Pennsylvania. 

Be  Merciful,  Be  Fair. 

For  months  I  have  read  sarcastic  re- 
marks about  the  stars.  Really,  each  let- 
ter seems  more  foolish  .than  the  others. 
At  last,  however,  among  them  all  I  have 
found  an  interesting,  as  well  as  sensible, 
letter  written  by   Irene  Sekely. 

Yes,  Irene,  I  agree  with  you.  You  are 
one  who  saw  the  same  thing  I  did.  Just 
one  sarcastic  remark  after  another.  Why? 
Probably  the  fans  themselves  do  not  know. 

Fans,  how  would  any  one  of  you  like 
to  be  in  the  place  of  an  actress  just  ris- 
ing to  fame?  Just  imagine  yourself  work- 
ing, giving  everything  you  have,  to  make 
your  first  film  a  success.  Think  of  the 
work,  the  struggle,  the  endless  anxiety 
and  worry,  wondering  how  the  public  will 
respond  to  your  work.  After  the  film  is 
released  you  will  pick  up  Picture  Play 
and  turn  its  pages  eagerly  to  the  place 
where  fans  are  privileged  to  express  their 
feelings. 

You  see  a  paragraph.  Yes,  it's  about 
your  work !  How  happy  the  expression 
on  your  face  as  you  devour  the  contents 
of  the  letter.     Then  your  happiness  turns 


to  hurt,  your  eyes  fill  with  tears  of  dis- 
couragement and  anger  as  you  read  the 
cruel  criticisms.  Each  word  strikes  worse 
than  a  blow  of  a  hand.  After  all  the 
labor,  is  this  the  reward  you  were  look- 
ing forward  to?  Your  dreams,  your 
hopes  are  shattered,  your  ambition  gone, 
your  happiness  destroyed.  Why?  Be- 
cause a  heartless  boy  or  girl  was  mean 
enough  to  write  things  to  discourage  you. 

Is  that  fair?  Of  course,  you  can  criti- 
cize. But  in  a  way  that  can  help  the  star, 
instead  of  discouraging  him  or  her. 
Wouldn't  it  make  you  happier  to  know 
that  your  letter  improved  one's  acting  in- 
stead of  marred  it?  Surely  it  would. 
Then  why  must  all  of  you  criticize,  make 
remarks  that  have  no  sense  at  all?  Re- 
member, fans,  the  actors  and  actresses  are 
human.  You  make  some  suffer  as  fully 
as  you  make  others  happy.  If  they  get  a 
chance,  •  why  not  encourage  them  to 
keep  on? 

When  one  fan  makes  a  remark  about  a 
certain  star  the  whole  crew  starts  knock- 
ing her,  too.  For  example,  take  Alice 
White.  Is  it  necessary  to  knock  her  the 
way  you  do?  I  admit  she  is  a  whoopee 
baby.  However,  she  thought  the  public 
would  like  her  that  way.  She  made  a 
mistake.  We  all  do.  She  just  got  on  to 
herself  and,  with  the  help  of  Sid  Bart- 
lett,  she  is  trying  to  reform.  I  think  he's 
a  darned  good  man  to  stand  by  her  in 
spite  of  all  the  remarks  cast  his  way. 
That's  right,  Sid,  show  them  what  you 
can  do  to  make  a  star  happy !  Alice  gets 
along,  but  I'm  sure  she'd  appreciate  it 
more  if  the  fans  wrote  kindly  of  her  in- 
stead of   knocking  the  way  they  do. 

F.  G. 

Connecticut. 

Wonder  of  Wonders! 

My  purpose  is  to  make  a  complaint 
about  a  star  whom  many  admire.  I  don't 
see  why.  She  is  neither  beautiful  nor 
talented,  yet  she  seems  very  conceited. 
She  is  none  other  than  Greta  Garbo. 
Why  is  she  in  pictures?  She  does  not 
bring  beauty  or  talent  to  the  screen.  To 
compare  her  with  Nancy  Carroll  or  Anita 
Page  would  be  foolish.  They  outclass 
her  in  every  way.  I  think  that  Garbo  is 
just  a  passing  fancy. 

Alice  White  is  a  favorite  of  mine. 
Why  do  so  many  fans  slam  her?  She 
is  cute  and  talented.  That's  more  than 
you  can  say  for  Garbo,  who  isn't  cute 
at  all. 

I  also  admire  the  acting  of  Lupe  Velez, 
Clara  Bow,  Colleen  Moore,  Mary  Brian, 
Raquel  Torres,  Sue  Carol,  Dorothy  Jor- 
dan, and    Sally   Starr. 

Virginia  Burns. 

614  Millman  Street, 
Peoria,  Illinois. 

Defending  Jeanette   MacDonald. 

Why  has  Picture  Play  knocked  Jean- 
ette MacDonald  in  almost  every  issue? 
The  fans  don't  care  what  editors,  critics, 
and  interviewers  think  about  stars.  If 
the  fans  like  them  they  will  keep  on  go- 
ing to  see  them,  regardless  of  what  is 
written.  And  the  fans  certainly  do  like 
Jeanette  MacDonald.  She  is  the  loveliest 
thing  I  ever  saw,  and  she  is  a  swell 
actress.  Could  any  one  else  play  opposite 
Maurice  Chevalier  and  come  off  with  first 
honors?  Lots  of  people  think  she  stole 
his  picture.  Besides  being  a  looker  and 
a  good  actress,  she  can  sing,  and,  what's 
more,  we  know  she  is  doing  it  herself. 
So  you  might  as  well  give  her  a  break 
instead  of  banding  together  to  prophesy 
failure  for  her. 

As  for  the  review  of  "The  Vagabond 
King,"  the  writer  ought  to  know,  as  the 
Continued  on  page  12 


11 


♦  o  ♦   o  ♦  o   ♦   ,->  ♦  »  ♦   c -♦-^♦-^^•♦-^ 


A  Love  That  Could  Not  Be  Forgotten 

She  ran  away  to  the  man  of  her  heart,  but  in  his  home  she  found  a  care- 
worn mother  who  had  ambitious  plans  for  him.  She  was  a  mother  who 
had  scraped  and  saved  for  years  to  send  her  boy  through  college,  and  when 
she  found  that  a  seemingly  frivolous  girl  from  a  wealthy  home  had  come 
between  her  and  her  ambition  for  her  boy  there  was  darkness  in  her  soul. 

But  there  was  real  stuff  in  the  girl  after  all.  She  made  her  great  sacrifice 
and   went   away   to    forget. 

Acting  always  on  impulse,  Geraldine  Loring  found  at  length  that  one 
never  does  forget  true  love.     This  is  but  an  outline  of  the  unusual  theme  of 

Impulsive  Youth 

By  VIVIAN  GREY 

Young  and  old  alike  will  recognize  the  characters  in  this  novel  as  they 
are  tenderly  and  delicately  drawn  by  the  author  as  very  real  persons  indeed. 
"IMPULSIVE  YOUTH"  is  a  CHELSEA  HOUSE  book.  And  that  means 
that  it  is  a  popular  copyright  which  has  never  before  appeared  between  book 
covers.     One  of  a  series  of  famous  love  stories  issued  by 

CHELSEA  HOUSE,  79  Seventh  Avenue.  New  York  City 


Price,   75  Cents  Q  Q  Price,   75  Cents 

+   0    +    *    +    0    +    o    +    <>    +   o   +   0    +    0   +    *    +   o    +    *    +    o   +    0    +    0   +   0    + 


12 

(   mtinued  from  page  10 

ian>  do,  that  Jeanette  Mac  Dona  Id  did  just 
what  the  director  told  her  to  do,  Any 
one  knows  that  she  Isn't  dumb,  and  it  the 

director  wanted  her  to  be  dramatic  she 
would  lia\e  been.  He  probably  wanted  a 
sharp  cuti. ist  between  the  two  girls.  So 
what  1  urge  is  fair  play  for  our  new  fa- 
vorites. 1  guess  the  producers  think 
Jeanette  is  all  right,  for  1  read  that  she 
is  to  be  in  a  new  picture  by  Lubitsch,  and 
Lubitsch  doesn't  make  any  serious  mis- 
takes. I've  read  Picture  Play  for  a  long 
time,  but  if  you  don't  stop  all  these  smart 
Alecks  From  knocking,  I'll  buy  a  maga- 
zine that  gives  a  person  credit  for  what 
.-he  can  ■  Mae. 

86  North  Third  Street, 
Newark,   New  Jersey. 

The  Photo  Question  Reopened. 

When  Paramount  and  First  National 
decided  that  it  was  a  definite  financial 
lo>^  to  continue  providing  photographs 
for  the  fans,  the  magazines  were  inun- 
dated with  letters  bitterly  reproaching  the 
for  such  a  move. 

Consider,  fans — if  you  are  capable  of 
so  sane  an  action — that  if  a  firm  as  big 
and  wealthy  as  Paramount  finds  it  a  loss 
to  provide  you  with  photographs  of  your 
favorites  free,  how  can  your  favorites 
possibly  afford  to  cope  with  your  demands 
at  their  own  expense?  Not  only  do  you 
expect  the  stars  to  provide  you — perfect 
strangers — with  free  photographs,  but  you 
also  expect  them  to  give  up  their  scant 
leisure  hours  to  answering  foolish,  illegi- 
ble notes  full  of  inane  flattery  and  bad 
grammar.  You  expect  the  stars,  who 
don't  know  you  from  Adam,  to  provide 
you  with  a  collection  of  photographs  for 
your  amusement,   at   their   expense. 

If  you  are  interested  in  one  particular 
star,  and  are  his  keen  admirer,  you  should 
be  more  sincere  than  to  balk  at  a  quar- 
ter. If  you  think  that  a  quarter  is  too 
much,  then  you  are  at  liberty  to  keep  it. 
The  studio  is  not  likely  to  try  to  pre- 
vent you  from  getting  these  photographs, 
because  they  are  obviously  in  the  inter- 
ests of  publicity.  And  I  think  it  would 
do  you  good  to  realize  that  when  a  star 
sends  you  a  photograph  free  and  writes 
you  a  letter,  it  is  a  favor  and  not  an 
obligation.  The  Fi.y  ox  the  Wall. 

Wellesley   Street, 
Auckland,  New  Zealand. 

Inane,  Insane,  in  Vain? 

With  a  delightful  disregard  of  propor- 
tion, and  with  a  total  lack  of  discern- 
ment, the  fans  continue  to  draw  compari- 
sons between  Buddy  Rogers  and  John  Gil- 
bert, between  Clara  Bow  and  Greta  Garbo, 
and  between  Gary  Cooper  and  Nils  As- 
ther.  All  these  comparisons  are  not  only 
odious,  but  also  inane,  insane,  and — in 
vain ! 

Don't  think  that  I  am  about  to  inaugu- 
rate a  Society  for  the  Prevention  of 
Cruelty  to  Movie  Stars,  for  I  have  no 
such   intention. 

There  are  many  stars  that  I  do  not 
like.  Some  give  me  a  pain  in  the  neck, 
some  a  pain  behind  the  eyes,  or  a  pain  in 
the  ears  ;  still,  I  tolerate  them,  not  gladly, 
but  in  silence.  They  react  upon  my  friends 
quite  differently:  so,  not  being  the  arbiter 
of  all  things  cinematic,  I  prefer  to  keep 
my  caustic  criticisms   to   myself. 

That  the  stars  should  be  subjected  to 
t  criticism  is  not  only  necessary,  but 
jusl ;  otherwise,  the  celluloid  sheiks  and 
sweeties  would  split  their  hats.  And  I 
know  that  I  am  not  sufficiently  impartial 
to  critcize  expertly.  Like  all  the  fan 
fraternity,  I  am  naturally  biased.  I  am 
confident  that  my  own  particular  favo- 
rites  warrant   my   esteem   and   loyalty;  but 


What  the  Fans  Think 

1  know  that,  in  my  eyes,  other  stars  pale 
almost  into  insignificance  beside  these 
much-loved  luminaries  of  mine. 

I  am  very  glad  of  Ramon  Novarro's 
success  in  the  talkies.  My  pleasure  and 
pride  in  him  is  greater  than  ever,  but  I 
don't  feel  inclined  to  crow  over  John  Gil- 
bert's admirers  because  John  has  failed 
them.  That  Gilbert's  voice  is  disappoint- 
ing is  not  a  gag;  it  is  a  ghastly  tragedy 
for  the  man  himself.  It  is  his  misfor- 
tune and  not  his  fault. 

If  this  defect  can  be  remedied,  I  shall 
be  very  pleased.  If  not,  there  is  no  'rea- 
son why  this  fine  actor  should  go  to  the 
wall  merely  because  of  the  studios'  slav- 
ish obedience  to  that  great  pooh-bah,  the 
microphone. 

His  work  is  not  always  good ;  but  nei- 
ther are  his  roles.  And  Greta  Garbo's 
roles  are  not  always  worthy  of  her. 

Louise  Merrill,  of  Yorkshire,  England, 
thought  fit  to  praise  William  Boyd.  Quite 
right ;  Bill  is  very  nice,  with  his  fine,  large 
physique  and  his  fine,  large  smile.  Never- 
theless, she  could  not  boost  her  favorite 
without  belittling  other  fans'  favorites. 
Rather  cheap — and  very  un-English. 

First  upon  her  list  of  "fancy  boys,"  she 
placed  Ramon  Novarro.  Now,  I  am 
prepared  to  admit  that  in,  say,  "The 
Yankee  Clipper,"  Ramon  would  not  have 
been  a  sensational  success,  nor  can  I  see 
him  playing  the  title  role  in  "The  Leath- 
erneck." 

Less  still  can  I  visualize  the  amiable 
Bill  in  "Ben-Hur,"  "Scaramouche,"  "The 
Student  Prince,"  or  as  the  gay  and  grace- 
ful young  king  in  "Forbidden  Hours." 
Whereas,  in  "The  Flying  Fleet,"  a  film 
suited  to  Boyd's  type,  Ramon  gave  a  flaw- 
less performance.  I  have  noticed  that 
Ramon  can  step  out  of  character,  but  pre- 
cious few  of  the  film  boys  can  step  into 
Ramon's   shoes   without   slipping ! 

The  Boyd  brotherhood  can  always  be 
relied  upon  to  give  us  realism.  But  for 
romance — give  us  Ramon  !  There  is  no 
dearth  of  drama,  but  there  is  a  dearth  of 
dreams.  Muriel  Graham. 

Ineleholm.  North  Berwick, 
Scotland. 

"The  King  of  Hollywood." 

The  first  letter  in  April  Picture  Play 
to  arouse  my  wrath  was  Buntee  d' Alton's, 
of  Buenos  Aires,  Argentina,  who  called 
Neil  Hamilton  a  "hick." 

What's  the  idea,  Buntee?  What  do  you 
think  of  our  Neil?  Did  you  see  "Beau 
Geste"?  How  did  you  feel  when  you  be- 
held that  scene  when  he  was  blowing  the 
bugle  over  Ronald  Colman's  body?  Didn't 
you  cry?  Did  you  see  "Mother  Machree"? 
Didn't  you  see  Neil's  fine  acting  in  it? 
In  every  picture  with  Neil  there's  no- 
body in  it  but  him.  And,  take  it  from 
me,  if  you  haven't  seen  any  Hamilton 
film,  you  have  not  seen  anything  yet,  and 
I'll   bet  you  arc  a  century  behind  time. 

The  next  letter  was  that  of  Ella  Niki- 
sher,  who  «bade  adios  to  John  Gilbert. 
Such  a  bunk  opinion  I  could  not  resist. 
What  do  you  mean  by  saying  that  if  Bull 
Montana  was  put  in  his  place  in  "His 
Glorious  Night"  you  might  have  enjoyed 
the  picture?  Now,  Ella,  only  silly  people 
would  say  that.  You  know  what  a  great 
difference  there  is  between  Bull  Montana 
and  John  Gilbert.  If  you  have  only 
voiced  your  opinion,  just  as  Sam  Ep- 
stein has  done,  I  would  not  think  of  you 
as  a  person  without  sound  judgment.  I 
do  agree  with  Sam's  views  of  our  John, 
and,  for  me,  John  Gilbert  is  the  greatest 
screen  lover,  the  ruling  actor  of  the  time, 
and  King  of  Hollywood.  Silent  or  talkie! 
You  are  another  one  who  is  a  century 
behind   time,   Ella. 


Let  me  tell  you  from  experience  why 
every  real  fan  can't  stop  collecting  photos. 
Everybody,  perhaps,  has  seen  "The  Pat- 
ent Leather  Kid."  Dick  Barthelmess 
showed  that  he  was  a  real  actor,  and  it 
aroused  in  me  a  deep  sentiment,  so  that 
I  "pondered  over  it,  gleaning  all  that  was 
in  it,  instead  of  just  seeing  its  passing 
beauty."  My  eyes  were  filled  with  tears. 
It  inspired  me  and  opened  my  eyes  to 
duty.  Really,  that  picture  I  can  never 
forget,  and  immediately  after  arriving 
home  I  wrote  to  Dick  Barthelmess  of 
what  I  felt,  and  in  return  he  sent  me  a 
nice  photo  of  himself. 

That's  what  I  ear  °d  for  my  true  ad- 
miration. So  you  see  why  this  hobby 
ought  not  to  be  stopped.  The  life  of 
being  a  fan  won't  be  worth  a  cent  with- 
out it.  Really,  I  can't  see  any  reason  why 
this  thing  should  be  discontinued. 

Lucas  Arciaga. 

987  Int.  9  Singalong, 

Manila,   Philippine  Islands. 

Garbo's  Way. 

Why  in  the  world  doesn't  some  one  end 
the  Novarro  discussion?  In  the  last  Pic- 
ture Play  every  other  letter  was  for  or 
against  Novarro.  If  you  must  pick  on 
somebody,  pick  on  some  one  who  stands 
out  above  the  ordinary  actors,  such  as 
Colman,  Novarro,  Brooks,  or  Chevalier. 

Why  not  take  the  greatest  actress  in 
Hollywood  or  anywhere  else,  for  that 
matter,  Greta  Garbo?  She  can  act!  With 
her  rise  she  takes  her  leading  men.  She 
raised  Gilbert  to  the  pinnacle,  but  he  .met 
Ina  Claire  and  forgot  his  voice.  She 
raised  Nils  Asther  to  a  point  where  he 
was  becoming  the  chief  flapper  crush,  but 
along  came  the  talkies  and  out  went  the 
boy  friend  engrossed  in  Vivian.  Ho,  hum ! 
Poor  Greta  !     She  must  be  bored. 

If  the  producers  want  to  bring  John 
Gilbert  back,  they  might  ask  Greta  to  have 
him  in  one  of  her  pictures  when  he  has 
his  voice  trained. 

I  have  seen  every  picture  Greta  Garbo 
has  made  in  America,  and  in  any  one  of 
those  her  acting  was  better  than  any  other 
actress  I  have  ever  seen,  including  Mary 
Brian,  Winnie  Lightner,  Billie  Dove,  Co- 
rinne  Griffith,  Ruth  Chatterton,  Nancy 
Carroll,  and  Jeanette  MacDonald. 

Marie  Irving. 

44  Fuller  Avenue, 
Toronto,  Ontario. 

Anything  But  Indifference. 

With  so  many  of  the  fans  picking  the 
stars  apart  to  see  what  makes,  them  go, 
and  then  criticizing  them  so,  I  really 
thought  I  couldn't  compete.  I  almost  said 
I  was  sorry  for  Alice  White,  and  that 
certainly  would  have  been  an  error.  Any 
one  who  has  shown  so  much  pluck  and 
can  stand  on  her  own  two  feet  with  so 
many  odds  against  her,  doesn't  need  pity, 
but  a  great  big  hand. 

It  has  always  been  my  contention  that 
it  is  much  better  to  have  people  dislike 
one  than  to  be  indifferent.  The  latter  is 
fatal,  for  it  shows  a  complete  ignorance 
of  your  existence,  whereas  the  former 
indicates  that  they  at  least  think  about 
you  when  they  use  their  energy  and  time 
disliking  you. 

You  see  what  some  people  can  do.  I 
was  the  sleeping  dog  until  one  of  our 
bright  fans  commenced  to  criticize  Ruth 
Chatterton's  manner  of  speech  and  Win- 
nie Lightner's  "vulgar  and  disgusting 
ways."  Miss  Hesse  evidently  considers 
herself  one  of  the  rare  few  endowed  with 
good  taste  and  refinement.  "Quality 
doesn't  count  on  the  screen  to-day.  any- 
way," she  says.  Allow  me  to  correct  you, 
Miss  Hesse.    Quality  on  the  screen  to-day 


i  ; 


ts  v  anywhen  cause 

the   majority    who    patronise    the    n 
ited  and  refined  people,  wh 
mand  a  high  quality  in  entertainment 
I  I  ertoiM  for  her  accent 

•  l>    person   I've  heard   who 
the  broad  "a"  with  grace  and  ease. 
die    s 

Winnie   Lightner!     How  you 

up  ami  makes  you  feel  that  it  isn't 
all.      Boj  ! 
•a    hist    want    to   go   up 
[ive  her  the  glad   I 

edy  and  drama  is 
•  I  like.    Chatterton  and  Lightner  till 
ill. 

E.   NMntvrk. 
P.      I  x    ;4. 

Fifty-si  -  Stal 

York  City. 

Crocella,  Tell   Us   More! 

I   wonder   it    Crocella    Mullen   can    rcal- 

■  w  happy  her  letter  made  me.     I.  too, 

lys  worship  Ramon  Novarro  and 

Harry    Norton.      To    think    that    she    has 

seen  the  latter's  baby  pictures !     You  are 

cella,    very    lucky.       It     I     were 

in  your  place,  I  would  consider  myself  the 

liapp  a    the    w  write 

and  tell  us  more.     Who   isn't   inter- 

in  Barry?   I'd  like  to  know. 

Heap-  this   magazine.     It 

them  all! 

Tiik   Eternal  Iholizkr. 
La  Grange.  IUino  - 

The   Eclipse  of  Renee. 

My   purpose    .<    I  i    fuss — but    a 

and  not  a  row.     In  other  words,  why 

on  earth  is  the  sweetest  and  most  sincere 

little   actress   on    the   screen    not   seen   any 

more?       Namely.    Renee    Adoree.       Is    it 

mention  the  role*  which  she 

made   supreme?     Milisande   in    "The   Big 

Parade,"  that  of  the  Chinese  girl  in  "Mr. 

W'u."   to   say   nothing  of   various    less   im- 

int  pictures  such  as  "The  Cossacks," 

rbidden  Hours."  "Hack  to  Cod'-  Coun- 

_■    Man,"   "Tide   of 

Empire."     "Mic'iigTin     Kid,''     and     others. 

will  any  one  evet  row  beau- 

ti fully  si.  the   French   woman   in 

"The 

All  the-e  are  nothing  to  what  she  could 

do  if  given  hall   the  chance,  and  yet   she 

kept   out   of    featured    roles 

while    some    shallow,    little,    inexperienced 

nobodies  are  start  It  isn't  as  if  Renee 

were  an  old,  worn-out  star,  but   she 

pretty   and    full   of    life   that    she   literally 

vibrates  with  personality.     We   ought  to 

support  her  with  such  loyalty  that  she  can 

climb  again,  and   this  time  reach   the   top. 

tie  here  in  America  or 

pe    who,    having    seen    her    once,    has 

not  lost  his  heart  to  her  charm  and  - 

have  always   loved  her 
and  a  all,  and  i  one  -,\  ho 

that    wa  nine    on    awl    let's 

her  a  big   b< 

Elizabeth  Shugart. 
:'th  Avenue, 
xville,  Tetine 

The  Smoke  of  Battle. 
I     read     wit!  ;ippreciati 

:eJ1ent    letter    on    "The 
and  being  an   I 
<uld    like   to   contribute    my 
-ting 
That  noble  knight  Sir  Alfred 
X — whoever     he     may     be — void  • 
iicc  against   American   film 

nplc. 
ken  all  over  England, 
land,  and  Wales,  thouirh  t'  >.oun- 

Continued  on  page  107 


GIRLS 

.     Do  Well  in 


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where? Many  Federal  Students  have  quickly  doubled  and' tripled 
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■  nd   in •■  j  our  .\  ■ 

t    >'jr   Kuturi,"    frM 


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Addr. 


14 


RADIO  PICTURES  Challenge         n 
The  EntertainmentWoHId!' 


L: 


.CTURE  qoers,  this  year,  can  look  to  the  Radio 
■ '    ■  W„re.  trademark  for  the  utmost  in  screen  en- 
Te  tai   ment.  Never  before  has  there  been  such 
o„  array  of  outstanding  product.ons. 
Heading  the  P-cession  cames  AMOS  'N' 
ANDY,  invincible  ^no^ojhe^ 
first  talking  picture.  A  red  letter 
•  screen  history! 
"CIMARRON,"  Edna  *£*  *£*££$ 

tory  in  a  day. 

"DIXIANA,"  glamorous  romanc.of  o^New 
Orleans  in  Mardi  ^^*2^^K 
EVERETT  MARSHALL,  ^^^^^a  thousand  others. 
Wheeler,  Robert  Woo Isey ;  and I  0 ^hous ^  „ 

Victor  Herbert's  .mmortal  BA»»  ™  a.  «HALF 
will  be  the  year's  supreme  aJnjgjJ^ 

SHOT  AT  SUNRISE"  fea!ur,^h^0HnEs%omedy 
ROBERT  WOOLSEY,  prom.ses  the  seasons 

sensation. 

«       u-  "THE  SILVER  HORDE"and  John  Gals- 

ReX!eOC"  ESCAPE'^ I  the  high  type  of  author- 
worthy  s     E5CAi*c     iyw    j  attractions 

ship  in  Radio  producuons  Jg^^  and 
of  equal  ment  awatfyoul  J*H,an ^ 

th^Cret;rarrbn:i   9  P   -e^tothese  productions    ■ 
w;Tcra\.ernegeethe9:ho.e  world  of  enterta.nmen, 

-HALF  SHOT  AT  SUNRISE" 

Bert  Wheeler  and  Robert  Woolsey  m  a 

^bombardm.*  of  mirth  and  me.od^  — 

PICTURES 

"TITANS  OF 
THE  SCREEN 

R  K  O  Distributing 

Corporation 

(Subsidiary  of  Radio 

Corp.  of  America) 

1560  Broadway 

New  York  City 


Yaur  lacal  theatre  manager  is  now  or  rang  ng 
his  season's  program.  He  is  always  'Rested 
n  knowing  your  wishes  and  is  guided  by  you  * 
llsin'^ertainmenKTellHirnyouwo 

ta  see  these  outstanding  Rad.a  P.c tare. 

o t  his  theatre.  He  will  appreciate  your  interest , 


us 


PICTURE   PLAY,  September,   1930       Volume  XXXIII      Number  1 


Jeannette  Vaubernier,  the  milliner  who  captivated  Louis  XV  of  France 
and  suffered  the  loss  of  her  head  at  the  hands  of  the  furious  revolution- 
ists, has  always  been  a  favorite  medium  for  the  display  <>f  histrionic 
talent.  It  was  in  portraying  Iter  on  the  screen  that  I '"la  Negri  found 
fame  and  fortune  in  tin-  picture  called  "Passion,"  and  it  is  now  Norma 
Talmadge  whose  talents  brin*,'  her  to  the  talking  screen  in  "Du  Barry, 
Woman  of  Passion." 

Magnificently  produced,  witl  resources  of  a  great  studio,  the 

film  brings  back  to  tli<  that  magnet  of  ear,  William 

Farnum,  who  plays  King  Louis  and  who  is  seen,  above,  with  M 
madge  in  the  scene  where  his  infatuation  causes  him  to  beg  for  her  ; 
with  the  promise  of  every  material   favor  that   royalty  car 
the  title  of  nnette  ;  ]\A    in   that    mon 

unhapp)  destiny  begins  to  shape  its  fata" 


16 

PART  I. 

AND  just  who  is  this  young  man?"  demanded  Mrs. 
Haggerty,  assuming  one  of  her  best  dowager- 
queen  manner. 

Her  daughter,  Jane,  faced  her  stormily  across  the 
breakfast  table. 

"Ik's  an  American  !"  she  replied,  as  if  that  were  more 
than  sufficient.  "And  he's  young!"  she  added,  as  if 
thinking  aloud. 

Mrs.  Haggerty  fairly  bristled. 

"Samuel  Bullitt  tells  me  that  he  came  storming  into 
the  garden,  drunk " 

Jane  rushed  to  the  defense. 

"lie  wasn't  drunk!  He'd  been  drinking  for  ten  days, 
but  he  wasn't  drunk  that  morning!" 

Mrs.  Haggerty  looked  as  she  did   when   she   remem- 
bered that   she  was  a  Thompson,  of   Clay 
City,  instead  of  John  Haggcrty's  widow. 


Bab 


es  in 


Beginning     our     romantic     novelette     in    which     a 
wood  whirl,  in  a  manner  as  exciting  as  the 


B?  I 


nez 


interesting  thing,  and  a  movie  camera,  and  he  made  a 
test  of  me !" 

Her  mother's  pale  eyes  grew  wide  with  horror. 

''Movies!"  she  gasped,  as  if  she  had  said  "Leprosy!" 

"He's  a  news-reel  man,"  Jane  began  to  explain,  her 

tone  implying  that  she  knew  it  would  do  no 

good.     Her  mother  threw  out  her  long,  bony 

hands  in  despair. 


"Jane!      Samue 
said  he  was  drunk  !" 

"How  would  he 
know?"  demanded 
Jane  bitterly.  "He 
never  drinks  any- 
thing stronger  than 
fruit  juice !" 

"I  le     said."     her 
mother  continued, 
her  long   face   rigid 
with   disgust,   "that 
this  young  man  told 
him    to    take    his 
easel  away  and  play 
somewhere  else,  be- 
cause he  was  going  to  make  a  good  picture  of  you — as 
if  Samuel  weren't  an  excellent  artist!     He  said  the  man 
had  a  lot  of  strange  paraphernalia,  and  had  you  laugh 
and  sing  and  play  your  guitar,  and  you  dressed  in  prac- 
tically nothing  but  your  yellow  shawl — — " 

"If  1  was  dressed  enough  to  pose  for  Sam,  I  most 
certainly  was  dressed  enough  for  harry  Bishop,"  Jane 
hastily   interrupted.      "He  had  a   sound   truck,   the  most 


"He'll  have  your  picture  in  the  papers,"  she  wailed. 
"People  back  in  the  States  will  laugh  at  us.     He'll " 

Jane  shrugged  her  slim  shoulders  impatiently,  and 
rolled  her  dark  eyes  ceilingward  in  exasperation. 

"Oh,  mother,  be  sensible.  He  has  nothing  to  do  with 
the  papers.  He's  with  one  of  the  big  movie  companies, 
and  he  was  sent  abroad  to  photograph  the  most  beautiful 
Spanish  girl  he  could  find.    And  he — well,  he  got  drunk, 


Hollywood 

beautiful   girl    is    suddenly   drawn    into    the    Holly- 
best  of  any  girl's  screen  and  love  daydreams. 


Sabastian 


Illustrated  by   QlartHCt  rl\ 


and  stayed  drunk  for  ten  days,"  apologetically 

when   he   came   to.   he   was   here    in    Majorca. 

wandered  around   looking   for  a 

pretty  girl,  because  he  was  late 

with  his  stuff,  and  when  he  ^au 

me  sitting  there  in  Sam's  garden, 

l*>sing    for    him,    in    that    yellow 

shawl — well,  like  everybody  else, 

he  thought  1  was  Spanish,  and  he 

said  I  was  just  what  he  wanted." 


And 
just 


17 
rible  Nebraska  is,  even  if  you  wen-  onlj  ten  when  we 

left    it." 

"I  didn't  want  to  leave  it."  Jane  reminded  her. 

"Last    night,"  continued    Mrs.    Haggerty,   paying   no 
attention.  "Samuel  came  to  me  and  asked  if  lu-  might 
propose  to  you.  and   I  gave  my  consent.     He'll  n 
\  on  a  good  husband " 

Jane  leaped  to  her  feet,  her  great  dark  eyes  blazing. 

"He  won't  make  me  anything  of  the  kind!"  sin   raved. 
"Sam's  almost  fifty,  and  he's  nearly  bald,  and  about 
exciting  a-,  a  cold  potato.     I  won't  marry  any  of  these 
stuffy  old  nun  you  keep  picking  out  for  me.'' 


"Larry  just  wandered  around 
looking  for  a  pretty  girl,  and 
when  he  saw  me  sitting  there  in 
Sam's  garden  he  thought  I  was 
Spanish,"  explained  Jane. 


rty   moaned. 

"They'll   show  your  picture  all   over  tin  she 

bested  dismally. 

"1  only  wish  I  thought  so,"  Jane  retorted.  "Probably 
they'll  take  one  look  at  it  and  fire  Larry  for  wasting 
film." 

Mr-.  Haggerty  drew  herself  up  very  straight  and 
fingered  her  transformation,  as  if  the  touch  of  the 
trim  artificial  waves  lent  her  confidence  in  a  mad  world. 

"You  seem  to  he  on  vers  '   mi-  with  this  young 

man."  she  remarked  icily.  "N'ow.  Jane.  I  won't  allow 
you  to  have  an  affair  with  this  drunken  young  roisterer. 
You're  SO  crazy  about  Americans  that  you  have  no  dis- 
crimination.    I  should  think  you'd  remember  how  ter- 


"You    will    marry    Samuel,"    her    mother    insisted    im- 
placably. 

Jane  stamped  her  font. 

"I  won't!"  she  cried.    "You've  forgotten  tl 
twenty-one  last  ['11  do  a-  I   like.     I'll  get 

from  this  stupid  little  island  somehow,  and  go  hom<        I 
want  t"  lUntry  clubs  with  young  |  •       nd  play 

tennis  anil      and  shout  craps'"   she  concluded   wildly. 

Mis.  Haggerty  gave  her  a  pitying  smile. 

"You    don't    know    what    you're    talking    about," 
said,  rising.     "Here  you  are  in  one  of   the  most   beauti- 
ful  spots  in  the  world,  and  you  talk  about   going  home. 

she  added  practically,  "you  haven't  any  mot 
of  sour  oss  n." 


18 


Babes  in  Hollywood 


"I'll  get  some,"  Jane  assured  her. 

"I  suppose  vim  think  that  young  man  will  come  back 
hero  for  you,"  her  mother  went  on,  moving  toward  the 
door.  "Well,  you  might  as  well  get  that  out  of  your 
head.  In  the  first  place,  if  he  was  drunk  enough  to  take 
you  for  a  Spaniard,  he  was  too  drunk  to  remember  who 
you  are.  And  if  he  had  money  enough  to  take  you  away 
from  here,  he  wouldn't  be  running  around  turning  a 
crank  like  an  organ  grinder." 

When  her  mother  left  the  room,  Jane  sank  into  her 
chair,  and  sat  staring  gloomily  at  the  table.  Her  odd, 
piquant  little  face  was  downcast,  her  large  eyes  sor- 
rowful. 

Probably  her  mother  was  right,  she  told  herself. 
Probably  Larry  Bishop  wouldn't  come  back,  ever,  though 
he  had  said  he  would. 

"They've  got  to  use  you  for  that  picture,"  he  had 
told  her.  "You're 
the  only  girl  I've 
photographed, and 
I'm  the  only  man 
on  this  assign- 
ment. The  old 
man's  all  set  on 
shooting  this  film 
right  away,  be- 
cause   he's    going 


to  Spain,  and  thinks  he'll  make  a  hit  with  the  king  or 
somebody  by  doing  this.  Listen,  would  you  like  to  go 
to  Hollywood?" 

"Would  I !"  she  had  exclaimed,  thinking  of  the  things 
she  had  read  in  fan  magazines  during  her  ten  years 
of  exile. 

"All  right,"  he  had  said,  his  blue  eyes  puckering  above 
his  smile ;  "you're  more  Spanish  than  Lupe  Velez,  or 
Dolores  del  Rio,  or  any  of  'em " 

"But  they're  Mexican,"  she  had  reminded  him. 

"Yes,  but  they're  America's  idea  of  sleek  senoritas. 
You've  got  the  looks,  and  if  you  can  cultivate  a  Pola 
Negri  temperament,  it'll  put  you  at  the  top  of  the  heap. 
You  know  when  an  American  girl  like  Nancy  Carroll 
gets  temperamental  along  with  her  success,  it's  just 
temper,  but  when  a  foreigner  has  a  tantrum,  it's  a  sign 
of  genius.  Now,  Til  wire  you  how  they  feel  about  this 
test,  and  you  be  ready  to  hop  for  home,  in  case  they 
like  it." 

She  had  laid  one  hand  lightly  on  his  arm. 

"Don't  wire,"  she  had  informed  him,  "but  come  your- 
self instead." 

He  had  looked  at  her  suddenly,  intently,  as  if  he  saw 
her  for  the  first  time  as  a  girl,  instead  of  somebody  who 
was  helping  him  out  of  a  difficulty.  His  gaze  made  little 
shivers  of  delight  run  through  her. 

"All  right,"  he  had  said,  at  last,  "I'll  come." 

But  weeks  had  gone  by,  four  of  them,  and  he  hadn't 
come.  Maybe  her  mother  was  right.  She'd  have  to  give 
in  and  marry  one  of  these  old  duffers  her  mother  was 

always  urging  upon  her, 
and  settle  down  here  for  the 
rest  of  her  life. 

Her  eyes  filled  with  tears, 


'At  it  again,  eh,   Rex?"  commented  Talbot's 
wife,  when  she  found  him  with  Jane. 


Babes  in  Hollywood 


19 


but  she  brushed  them  awa\  angrily,  and  went  into  the 
garden.     She  wouldn't  give  in  till  she  had  to! 

And  then  suddenly  she  saw  him  standing  on  the  other 
side  of  the  wall,  looking  at  her.  At  first  she  couldn't 
believe  that  he  was  really  there;  she  had  so  often 
dreamed  of  his  coming  that  it  seemed  this  must  he  onl\ 
one  more  dream.  Then  he  climbed  over  the  wall  and 
came  toward  her.  She  cried  "Larry!"  delightedly,  and 
ran  toward  him. 

'Aon  did  come!"  she  exclaimed.     "You  did!" 

"Sure  1  did,"  he  answered,  taking  her  hands  in  his. 
"And  listen — I've  got  swell  news  for  you.  You're  all 
set  for  Hollywood.  The  old  man  says  you're  exactly 
what  he  wanted  for  the  picture.  When  can  you  be  ready 
to  start?     There's  a  boat   for  Spain  to-night." 

'•<  )h_I " 

"You  won't  go  back  on  me,  will  you?"  he  demanded 
anxiously.     "If  you  do,  1  lose  my  job,  and  if  you  don't. 

1  get  a  bonus." 

"Oh.  no."  she  replied  quickly.  "I  want  to 
go  more  than  I  can  tell  you.  Only — I  haven't 
any  money,  or  any  clothes " 

He  patted  her  lightly  on  the  shoulder. 

"That's  all  right.  I've  got  plenty.  The  com- 
pany pays  your  expenses,  of  course.  And  I 
picked  up  some  clothes  last  week  in  Madrid,  in 
•.:  didn't  have  the  right  things.  You've 
got  to  be  very  Spanish,  you  know.  You  do 
speak  the  lingo,  don't  you?" 


land. 

"Pack  your  things. 


At  sight  of  his  worried  face  she  laughed,  throwing  her 
lovely  head  back,  half  closing  h< 

"I've  lived  over  lure  live  years,"  -he  told  him,  "and 
before  that   we  were  m   Spam." 

I  le  laughed,  too,  ami  caughl  her 
"  Then  come  along,"  he  urged. 

and  let's  get  going." 

They    burned    into    the    home,    and    Jam-    rushed    up- 

stairs  and  began  t<>  pack.  There  were  so  few  things 
worth  taking!  These  few  cheap  little  dresses,  that 
shabby  coat  -be  wouldn't  need  them  now!  What 
lovely  new  ones  -he'd  have!  Gorgeous,  frilly  frocks, 
all  pale,  soft  colors! 

She  was  almost  ready  to  leave  when  her  mother  re- 
turned. Jane  heard  her  amazed  voice  speaking  to  Larry, 
and  hurried  downstairs. 

".Mother."  she  broke  in.  "this  is  Larry  Bishop,  and  1 
1       timii  (1  en  page  "2 


r  * 


20 


Between  the 


F 


ans 


Mitchell  Foster,  sec- 
retary to  Joan  Craw- 
ford and  Douglas 
Fairbanks,  Jr.,  can 
say  no  with  remark- 
able firmness  and 
politeness. 

IF  your  secretary 
gets  hold  of  this 
letter,  I  am  posi- 
tive you  will  never 
see  it !"  wails  the 
ardent  fan  in  writing' 
to  a  favorite  star. 
And  such  indeed  is 
the  fate  of  all  unin- 
telligent epistles. 

"If  this  secretary 
weren't  here,  I'd  get 
to  see  the  star  per- 
sonally!" the  inde- 
fatigable solicitor 
grovels,  grinding  his 
teeth  in  frustration. 

'"I  know  the  sec- 
retary never  deliv- 
ered my  message." 

And  SO  it  goes. 

In  short,  the  world 
ainst   the  secre- 
tary, that   seemingly 
disagreeable    person    who    stands    in    the    way.    ever   on 

ard  over  the  player. 

The  more  famous  a  person  is.  the  more  difficult  is  it 
to  get  to  "The  presence."  It  is  only  reasonable  to  sup- 
pose thai  no  player  would  keep  an  individual  who  wasn't 
worth  his  wage. 


Chala    Brown,    almost    one   of   the 
test  with  a  rug  peddler 


The    often-maligned    secretary    is    always    on 
adviser,    and    incidentally   serves   as   bouncer 


A  star's  work  is  from  sun  to  sun,  but  a  secre- 
tary's work  is  never  done.  At  least,  that  is  the 
conclusion  at  which  I  arrived,  after  interviewing 
several  of  them. 

Should  a  stranger  desire  to  see  Clara  Bow,  he 
will  encounter  Daisy  de  Voe.  Daisy  is  a  startling 
young  person  of  sophisticated  mien,  possessing  a 
calculating  mind  good  for  business  and  the  posi- 
tion she  holds,  said  position  being  personal  secre- 
tary, business  manager,  and  general  factotum  to 
Clara  Bow. 

Not  so  long  ago  Daisy  opened  numerous  letters 
written  Clara  by  some  young  man  in  Berkeley, 
California.  The  first  was  answered  with  a  polite 
note  of  thanks  in  Clara's  name.  Clara  felt  she 
was  doing  right  in  being  courteous.  But  that 
started  Daisy's  troubles.  Possibly  sent  into  an 
ecstatic  state  on  receiving  a  letter  from  Clara, 
the  young  man  rushed  down  to  Hollywood.  He 
somehow  found  out  the  Bow  home  address,  and 
turned  up  to  confront  Daisy. 

"If  he  had  been  a -boy  I  could  have  felt  a  little 
sympathy  for  him,"  Daisy  told  me.     "But  he  was 

a  man  in  his  earlv 
thirties.  And  a  law- 
yer. Well,  if  that 
guy  didn't  give  me 
trouble  !  I  told  him 
quite  definitely  that 
Miss  Bow  could  not 
see  him.  He  had 
somehow  got  into 
his  mind  that  Clara 
would  engage  her- 
self to  him  if  he 
saw  her. 

"I  never  let  him 
get  beyond  the 
doorstep."  Clara's 
guardian  went  on. 
"I  told  him  that 
Miss  Bow  was  al- 
ready engaged  to 
a  certain  player, 
and  wouldn't  dream 
of  becoming  en- 
gaged to  two  men 
at  once.  'And,'  I 
added,  T  know 
she'd  never  get  en- 
gaged to  ybu !'  That 
evidently  pene- 
trated his  skull. 
He  finally  gave  up  and  returned,  I  suppose,  to  his  law 
business,  which  must  have  been  in  a  bad  state  while  he 
rushed  round  Hollywood  trying  to  see  Clara." 

One  boy  in  the  East  writes  constantly  to  Miss  Bow. 
lias  done  so  for  about  three  years.  Eventually  his  let- 
ters became  too  realistic.      Photos  of  himself   taken  in 


Del   Rio   family,   had   an   endurance 
who  tried  to  see  Dolores. 


Jl 


Stars  and  tne 

B?  William 

H.  McKegg 

the  job  as  the  player's  guardian,  friend,  and 
to  keep  away  nuts  and  determined  solicitors. 


various  poses   were  kindly   but   firmly   returned   by 
the  ever-vigilant  Daisj . 

One  old  man  tried  to  gain   entrance  into  the 

Bow's  home,  with  no  excuse  except  that  he  had 

Clara.      He   became    so    troublesome   that 

sy  threatened  to  call  the  police.     Even  this  did 

not  cool  his  ancient  ardor.      So   Daisy  carried   out 

her   threat.      The   police   said   that    this   old    seeker 

his  had  troubled  a  lot  ^i  stars. 

Once  again  Daisy  earned  her  money  as  Clara- 
tary  and  guardian.  A  young  fellow  kept  com- 
ing to  the  house,  asserting  he  had  souk-  informa- 
tion that  was  of  vital  importance  to  Miss  Bow. 
"1*11  tell  her."  Daisy  offered.  "I  can  tell  it  to  no 
one  hut  her."  the  youth  insisted. 

Daisy  described  him  as  "a  goofy-looking  guy," 
with  an  odd  look  in  his  eyes. 

"I  somehow  felt  that  he  was  just  bluffing,  so  I 
told  him  not  to  bother  me  again.     But  one  day  a 
man  was  expected  to  call  and  appraise  the   furni- 
ture.    I  told  the  housekeeper  to  let  him  in  when  he 
came  at  six  o'clock.     Who  should  turn  up  at  the 
stroke  of  six  but  this  nut!     Naturally  the  ' 
keeper   let   him   in. 
thinking    he    was 
the  appraiser. 

"With  one  leap 
he  was  in  the  draw- 
ing-room. Clara 
sitting  on  a 
settee  reading.  Ik- 
stared  at  her  like 
one  in  an  uneasy 
trance.  Just  then 
I  entered  from  the 
back. 

"  He  has  some- 
thing to  tell  you.'  I 
explained  to  Clara. 
Clara  asked  him  to 
say  what  he  had  to 
say.  'I  can't  say  it 
unless  you  send  all 
these  people  away.' 
the  poor  sap  said. 
The  housekeeper, 
the  maid,  and  the 
gardener,  crowding 
in  the  doorway, 
were  asked  to  go. 
Of  course  I  re- 
mained. 

"  'Send  her  away 

he  said.     'I   don't  want  her  to  bear.'      But   Clara 
d.     She  told  him  I  was  her  secretary  and  that  she 
never  saw  atv.  ithoilt  my  being  present.     If 

staring  at  Gara  in  a  stupid  way  and   wouldn't 

say  a  word.     So  Clara  finally  got  up  and  left  the  room. 
The  fellow  swung  round  to  me  and  growled,  'I'll  get  vou 


Ruth  Chatterton's  secretary,  Hazel  Gray,  had  an  easy  time  on  Broad 
way,  but  not  since  Ruth  became  a  film  star. 


That  silly  gush  note 
the  girl  across  the 
street  wrote  to  Ra- 
mon Novarro  fell 
into  the  practical 
hands  of  Edith  Far- 
rell,  and  you  know 
what    happened. 

fur    this!      You 
if   I  don't!'     And   I 
was    only    doing    my 
duty  !" 

I  )aisy  was  working 
on  tin-  Paramount  lot 
when  Clara  nut  her 
and  asked  her  to  he- 
come  her  secretary. 
At  firs'  Daisy  was 
somewhat  reluctant, 
hut  accepted. 

"People  say.  'I  bet 
you  have  a 
time.'  I  think  they 
imagine  me  in  the 
midst  of  a  wild  party 
every  night.  I  don  I 
drink,  and  since  I've 
n  with  Clara, 
we've  had  only  three 
pan  i    at    the 

beach  house  and  one  at    Beverly   Hills." 
Xo.  Daisy's  work  is  taken  up  in  keeping  undesirable 

people  from  seeking  out  the  Bow.     While  she  pr< 

Clara's  privacy,  -he  gains  the  hostilit) 

beings  she  sends  away. 

Gary  Cooper  keep-  calm  and  tl,  no  matter  how 


22 


Between  the  Stars  and  the  Fans 


man)  people  tr\  to  see  him.  Don  Lewis,  his  secretary, 
has  his  hands  full  in  keeping  the  way  clear  of  people 
wanting  t<>  sell  things,  or  give  things,  or  take  things: 
and  girls  wanting  to  know  it'  any  feminine  attrac- 
tions are  permitted  on  the  Cooper  ranch  in  Montana. 
It'  not,  they  suggest  a  good  reason  why  there-  should 
be    some. 

Before  undertaking  to  sequester  Gary  from  the  world 
at  large,  Don  was  with  Maurice  Chevalier.  Frenchmen, 
or  persons  claiming  that  nationality,  besieged  the  Para- 
mount fortress  and  gave  all  sorts  of  arguments  as  to  why 
they  should  sec  Mr.  Chevalier. 

The  same  thing  happens  while  Don  manages  Gary's 
affairs.  A  woman  in  the  Easl  sefH  a  warning  letter 
slating  that  there  was  a  plot  to  kill  Gary.  She  was 
on  the  inside  of  this,  and  for  ten  thousand  dollars  she 
would  stop  the  infernal  scheme.  She  is  inside  a  luna- 
tic asylum  now,  writing  warning  letters  to  her  heart's 
content. 

Perhaps  Dolores  del  Rio's  secretary  has  as  hectic  a 
time  as  Daisy  de  Voe.  Chala  Brown  is  a  very  clever 
young  girl  from  Chile.  Her  father  was  an  American. 
Four  years  ago  Chala  decided  to  do  something  in  life. 
She  came  to  California  and  went  to  a  secretarial  school. 
Luckily  she  obtained  the  position  of  secretary  to  Miss 
del  Rio  three'  years  ago,  and  is  now  like  one  of  the 
family. 

Chain's  bilingual  accomplishment  stands  her  in  good 
stead.  Numerous  Mexicans  besiege  the  Del  Rio  home, 
wanting  to  see  their  compatriot.  Chala  declares  that  at 
first  she  hardly  knew  what  to  say.  or  how  to  deal  with 
all  the  callers.  Xow  she  says  she  has  become  hard- 
boiled.    A  secretary  has  to  be. 

One  of  the  most  persistent  solicitors  is  a  strange  fel- 
low whose  aim  in  life  is  selling,  or  trying  to  sell,  Oriental 
goods.  He  refuses  to  give  up  the  struggle  with  this 
annoying  secretary  who  prevents  him  from  seeing  Miss 
del  Rio.' 

"J  wonder  which  of  us  will  give  in  first,"  Chala  moans. 
'"One  morning  I  felt  sure  I  had  managed  to  convince 
him  of  the  uselessness  of  trying  to  see  Miss  del  Rio. 
I  told  him  that  she  and  her  mother  were  in  Honolulu. 
Just  as  he  was  packing  up  his  Oriental  goods.  Miss 
del  Rio  put  her  head  out  of  the  far  doorway  and  said, 
'Chala,  come  in  for  lunch.'  The  look  I  received  from  my 
old    foe    with    his 


( Oriental  stuff  was 

enough  to  kill. 

"There  is  also  a 
voting  college  hoy. 
He  insists  that  he 
will  sell  Miss  del 
Rio  some  insur- 
ance. Just  as  in- 
sistently 1  main- 
tain that  he  will 
not.  And  so  we 
face  each  other. 
And  I  realize  I 
am  making  an- 
other enemy. 

"They  are  so 
unreasonable.  All 
these  solicitors  see 
only  their  own 
side  of  things.  If 
a  star  does  not 
wish  to  buy  insur- 
ance, why  should 
she.  just  to  hel]' 
some  fellow  who 
asks   he 


Dolores  del  Rio  helps  more  people  than  outsiders 
would  believe.  And  Chala,  in  spite  of  admitting  she  is 
hard-boiled  where  solicitors  are  concerned,  is  too  hard 
on  herself. 

Xot  long  ago  a  Mexican  boy  of  twenty  called  at  the 
1  )el  Rio  home. 

"At  once  I  could  tell  he  was  deserving,  whatever  he 
meant  to  ask  for."  Chala  related.  "He  was  clean,  his 
trousers  were  pressed,  and  he  was  convincing  in  every- 
thing he  said.  A  secretary,  you  know,  develops  a  sixth 
sense.  She  can  tell  at  once  if  a  caller  is  speaking  the 
truth  or  lying. 

"This  young  hoy  is  a  splendid  musician.  He  gave  me 
a  song  he  had  composed  for  Miss  del  Rio.  Also  a  letter 
written  to  her.  I  let  Miss  del  Rio  see  them.  She  took 
an  interest  in  the  young  man.  and  helped  him  to  get  a 
position  in  which  his  musical  talent  earns  him  a  good 
salary. 

"What  I  liked  about  him  was  that  he  was  so  eager  to 
do  whatever  he  was  told.  If  I  sent  him  to  the  other 
end  of  the  town  to  see  some  one,  he'd  go  without  a  mur- 
mur. Again,  he  could  not  get  his  present  position  un- 
less he  belonged  to  the  union.  It  cost  fifty  dollars  to 
join.  He  didn't  have  the  money.  He  told  me  this,  and 
that  was  all.  He  did  not  hint  at  borrowing  as  others 
have  done.  I  told  Miss  del  Rio,  and  she  gave  me  the 
money  to  give  him.  But  even  then  he  would  not  accept 
it  as  a  gift.  He  insisted  on  giving  Miss  del  Rio  his  note, 
in  which  he  agreed  to  pay  back  the  loan,  with  interest, 
in  six  months  after  he  started  work." 

His  father  in  Mexico  has  written  gratefully  to  Miss 
del  Rio,  mentioning  how  his  son  praises  her  kindness  to 
him.  In  the  song  he  composed,  called  "Dolores."  he 
ends  the  liquid  strains  of  Latin  emotion  with, 

Hay  can  tares 
Luces,  colores  y  rosas 
Pero  Ilci'o  en  el  alma 
Dolores. 

I  can  readily  believe  this.  But  in  the  meantime  I  leave 
Chala,  the  clever  and  interesting  secretary,  to  cope 
with  her  many  distracting  callers. 

Another  Mexican  star,  Ramon  Novarro,  is  lucky  in 
having  all  requests  caught  in  the  studio  script  depart- 
ment before  they  reach  him.  The  head  of  this  depart- 
ment   is    Edith 


Stalwart  Gary  Cooper  employs  Don  Lewis  as  keeper  of  the  home  latchstring 

to   determine   who   will   be   admitted   within   the   gates    and   who    sent    away 

muttering    strange    oaths    against    all    secretaries. 


Farrell.  Miss 
Farrell  sorts  out 
the  sensible  from 
the  ridiculous 
letters,  and  lets 
Novarro  see  the 
results. 

When  Ramon 
went  to  Europe 
last  year,  he 
stopped  in  Chi- 
cago to  change 
trains.  One  old 
lady  had  written 
him  for  a  long 
time  and  sent 
him  little  things 
she  had  made. 
Miss  Farrell  be- 
lieved she  was 
doing  the  right 
thing  in  saying 
that  Mr.  Novarro 
would  he  chang- 
ing trains  at 
Cont.   on    page   97 


Bright 


eners 


Five  little  girls  come  from  the  stage  to  coax  laughter 
from  the  jaded   fans. 


Ginger  Rogers,  left,  ia 
as  spicj  ,i>  her  name 
ami  adds  a  welcome  in- 
gredient to  every  pic- 
ture in  which  she  ap- 
pears. The  New  York 
Stage  will  not  see  her 
i  long  time,  because 

of    her     success     in     the 

musical  picture  "Queen 
High." 


Zelma  O'Neal,  upper  right,  used  to 
be  a  long-distance  operator  with  a 
telephone  company  in  Chicago,  and 
became  famous  as  the  Varsity 
Drag   yirl  in   "Good   New 

Inez  Courtney,  center,  appeared  in 
vaudeville  .it  fifteen  and  eventually 
landed  in  Broadway  musicals,  "i:e 
of  which,  "Spring  I  Here," 
reached  the  screen  with  Inez  in 
her  original   role. 

Do   you    remember    Jea 

left,  in  "The   King  of  Jazz"?     She- 
is  a  radio  star  with  a  tinging  per- 
altty  that   : 

Laura  i,  well  k; 

rollicking     toubrette     in     w 

for     "Top     Sped"     and     "' 
W 


4 


24 


For  Better,  or 

Hollywood  is  a  place  of  panicky  uncertainty  since  the  first 
brought     not     only     disturbances     to     careers, 

By  Edxtfin 


Warner    Baxter's    per- 
sonality   changed   with 
his  playing  of  accented 
roles. 


Norma   Shearer   made   the   leap   from   silence 

into     speech     without     losing     her     old-time 

individuality. 

SJ  I OULD   there  ever   be   a   real   movie 
follies  in   the   future,  no  better  name 
could  be  suggested   for  it  than  "The 
Frenzied  Errors  of  1029-30." 

The  only  trouble  is  that  it 
wouldn't  be  an  entertainment 
with  comedy  and  music,  but  a 
sobby  sort  of  drama  verging  on 
tragedy.  Therefore  it  might 
have  to  be  retitled  "The  Wages 
of  Syn-chronizing  Before  You 
Are  Ready."  And  the  words  of 
the  theme  song,  if  any.  would 
run  something  like  this:  "Be 
yourself,  if  you  can.  but  be  any- 
thing to  be  popular." 

While  movieland  has  under- 
gone violent  changes  during  the 
pasl  year,  none  of  these  lias  com- 
pared with  the  alteration  that  has 
taken  place  right  before  fan- 
dom's  eyes  in  the  personalities  of 
the  stars  themselves. 

Filmgoers  have  seen  the  exotic 
loveliness  of  Greta  Garbo,  all 
magic,  vanish  overnight  to  the 
tune  of  a  husky,  heavy  Swedish 
accent  heard  in  a  river-front 
on. 

They  have  beheld  the  orchida- 
is  charm  of  Corinne  Griffith   fold  its  petals  under  a  nasal  languor. 

They  have  listened  disappointedly  and  with  amusement,  even,  to  the 
treb'e  staccato  of  John   Gilbert   waxing   fervidly  romantic. 

They  have  questioned  curiously  Janet  Gaynor,  with  tremulous  high- 
pitched  voice,  dashing  impetuously  into  a  mammy-song  atmosphere, 
and  witnessed  Vihna  Banky's  flowerlike  beauty  perish  because  of  a 
to,, -marked  Hungarian  inflection. 

^>  (-.   thi'   talkies  have  been   playing  havoc   with   the   public's  accepted 

-   ot    stars.      Right    from   their   beginning   of    lisps   and   sizzling   s's. 

The   results,    while   not    always   disastrous,    are   at    least    disconcerting. 


Lewis  Ayres,  recently  only  a  cabaret 

musician,  has  become  an  actor  to  be 

reckoned  with. 


They  make  one  wonder  at  the  game 
of  hide-and-seek  that  Mr.  Microphone 
— -"dat  old  davil"  microphone,  to  be 
exact — engages  in  with  the  personali- 
ties of  the  fair  and  handsome  filmers. 
How  did  they  all  get  into  such  a  mess, 
if  mess  it  be,  and  where  is  it  going  to 
lead  ? 

Of  course,  it  is  possible  to  begin 
right  off  by  making  an  exception  of 
Garbo.  She  altered  her  aura  com- 
pletely, and  apparently  got  away  with 
it.  Disillusionment  attended  hearing 
her  speak,  especially  for  those  who 
idolized  her  ever-elusive  fascination. 
But  though  "Anna  Christie"  brought 
her  down  to  earth,  so  to  say,  it  simul- 
taneously strengthened  the  conviction 
that  she  is  a  fine  actress. 

Unlike  her  previous  efforts  though 
the  sordid  role  was,  it  would  have  been 
ridiculous  for  her  to  have  attempted 
any  other  portrayal  but  a  Swedish  one 
at  the  outset,  because  she  could  not 
have  qualified  with  any  naturalness  of 
speech.  She  would  have  disappointed 
her  adoring  fans,  and  failed  also  to 
please  the  critics. 

If  all  transitions  to  the  talkies  had 
been  as  skillfully  managed  as  Garbo's, 
there  would  be  little  to  cry  about. 
Hers  is  one  of  the  best  breaks  that  has 
come  about,  and  it  was  doubly  lucky, 
because  she  overcame  any  disturbance 

In    song    and    speech    Gloria    Swanson 
maintains  her  old  allure. 


forW 


orses 


? 


wild   dashes   of   the  stars   into   talking   pictures,   which    have 
but    some   amazing   alterations   of   personalities. 


Schallert 


on  the  part  of  Ikt  public  when  she 
literally  slaughtered  the  viewpoint  they 
had  adopted  toward  her. 

John  Gilbert  was  far  less  fortunate. 
I  "don't  think  anybody  was  exactly  to 
blame,  and  nobody  foresaw  that  his 
voice  did  not  fit  in  with  the  notion  that 
his  audiences  had  oi  him.  Had  the 
studio  realized  this,  they  would  have 
avoided  the  romantic  roles  he  had  por- 
trayed before,  and  would  have  cast  him 
in  vigorous  parts,  such  as  he  is  now 
reputedly  playing.  Tack  stayed  in  char- 
acter when  he  made  his  debut,  but  it 
did  not  work  out  so  well. 

As  far  as  most  entrances  into  sound 
films  go,  they  have  been  dictated,  nine 
times  out  of  ten.  by  fantastic  and  mad 
efforts  at  the  start  to  do  and  to  be  some- 
thing different.  Everybody  began  by 
taking  up  singing  and  dancing  and 
wanted  to  make  a  musical  film.  "I'll  do 
it  in  a  couple  of  months  with  a  good 
teacher,"  became  the  byword  of  the  pic- 
ture colony. 

Naturally,  it  turned  out  to  be  a  lot  of 
foolishness.  Pictures  began  to  show  the 
lolly  of  attempting  to  compete  with 
trained     voi  They     revealed     that 

movie  stars  who  tried  to  learn  to  warble 
with  a  lesson  a  day   for  a   few  weeks. 
either  had  their  voices  doubled,  or  i 
proved    to    be    terrible    flops    compared 
with  the  stage  recruits.     Singing  wasn't 

Jeanette  Loff  proved  a  big  surprise  when 
she  sar.g. 


Edmund    Lowe    is    com- 
pletely altered  as  a  per- 
sonality and  an  actor. 


Corinne    Griffith's    talkie    voice    doesn't    match 
her    distinguished    gracefulness. 


f\^W  something  to  be  learned  in  a  few  runs  up  and 

I      Tm  down  the  scales  with  a  teacher.     Talent  for  it 

W  had  to  be  born  into  the  blood,  and  carefully 

nurtured,  especially   for  the  exacting  micro- 
phone. 

Then  voice  doubling  got  vari- 
ous stars  into  serious  difficulties. 
Richard  Barthelmess  was  among 
them.  And  that  was  especially 
bad  for  Dick,  because  word  got 
around  that  he  had  lent  credence 
to  the  reports  that  he  was  sing- 
ing. Denunciatory  letters  flooded 
the  studio  and  the  magazines.  It 
a  wonder  they  didn't  wreck 
his  career,  but  Dick  quickly 
righted  himself  and  began  play- 
ing straight  dramatic  role-.  Now 
he  is  rated  one  of  the  most  SUC- 
uil  of  talkie  actors. 
Mary  Pickford  took  a  mad 
leap  into  the  sound  maelstrom, 
and  the  wisdom  of  her  plunge  is 
still  much  argued.  "Coquette" 
introduced  her  not  only  with  a 
voice,  but  with  bobbed  hair  and 
an  inclination  toward  strong, 
tragic  drama.    There  were  many 

es  in  the  picture  that  -! 
her  to  have  exceptional  l::i 
an   actress,   but    regardless   of   that,   certain    fans    rebelled    against    her 
decisive  effort  to  be  different. 

Mary  next  came  forth  with  her  portrayal  of  Kathcriuc.  in  "The  Tam- 
rew,"   in   which   she  was  most   unfortunately   cast.      This 
picture  has  made  the  way  perplexing   for  her.  and   that    is  one   reason, 
no  doubt,  why  she  has  proceeded  with  BUCh  extreme  caution  in   filming 
"Forever     Your-.."    taken     from  "       She     recently    discarded 

1  wortli  of  film,  because  she  was  not  satisfied  with  it. 
"Forever  Yours"  continues  to  reveal   Mary's  versatilit; 
.  for  the  role  she  plays  in  the  beginning  of  the  pictun 
gray-haired  old  lady. 


Talkies     have     established     William 
Powell  both  as  hero  and  villain. 


26 


For  Better,  or  for  Worse? 


Greta     Garbo's     lapse    into    speech    was 

managed  with  shrewd  knowledge   of  her 

limitations. 


I    feel    that    outside    the    mistake    of 
"Taming  of  the  Shrew,"  Miss  Pickford 
is   really   acting   intelligently   and    with 
caution  in  the  management  of  her  ca- 
reer.   The  fans  have  heaped  blame  upon 
her  for  growing  up,  but  she  probably 
would   have   made  herself    ludicrous   in 
trying  to  portray  the  "little  girl  with  the  curl"  in 
a  dialogue  film.     She  simply  had  to  take  a  chance 
on  maturity,  and  she  is  to  be  credited  for  not 
trving  to  sing  songs  when  she  did  it,  like  many 
others. 

The  early  days  of  the  talkies  were  afflicted 
with  madness  of  all  sorts  and  descriptions,  and 
many  of  those  who  had  to  do  the  pioneering  un- 
derwent a  blighting  experience.  Recording  was 
had.  dialogue  was  weak  and  silly,  situations  and 
even  plots  were  strained  and  nonsensical.  And 
no  star  can  survive  such  a  comhination. 

Those  who  suffered  particularly  were  May 
McAvoy,  Dolores  Costello,  Betty  Bronson,  and 
Doris  Kenyon.  as  well  as  some  of  the  men,  like 
Monte  Blue,  Wallace  Beery,  and  I  believe,  for 
a  time.  Richard  Dix. 

Laura  La  Plante,  among  others,  asked  for  re- 
lease from  her  contract,  because  she  was  dissat- 
isfied with  her  initial  experiences  in  the  talkies. 
She  wasn't  happy,  I  imagine,  with  "Show  Boat" 
r  suits,  despite  the  success  of  that  picture,  and 
more  lately  with  "Captain  of  the  Guard."  In 
both  these  she  was  assigned  dramatic  roles, 
when  her  talents  are  most  obviously  those  of  a 
comedienne. 

In  the  very  early  days,  part  talkies  were  the 
source  of  tribulation  for  more  stars  than  could  ever  be  counted.  There 
was  no  possibility  of  their  giving  a  convincing  performance  in  them,  be- 
cause of  the  preposterous  combining  of  pantomime  sequences  with  those 
dependent  on  speech.  These  pictures  practically  ruined  the  careers  of  some 
of  those  who  appeared  in  them,  because  audiences  laughed  at  the  stars. 

It  is  no  wonder  that  certain  players  were  long  in  consenting  to  do  any- 
thing in  the  talkies  as  a  consequence".  Lon  Chaney  was  among  those  who 
refused  to  lake  any  chances,  until  the  medium  was  well  developed.  He  is 
Aery  smart,  too.  in  sticking  to  his  character.  His  debut  in  "The  Unholy 
Three''  repeats  a  successful  previous  performance,  and   furthermore  he  is 


emerging  with  tricks  of  voice  that  he  likely  couldn't  have  attempted  in 
the  earlier  days.  At  that  time,  the  only  word  that  the  sound  engineers 
seemed  to  use  was  "no."  Many  things  that  are  done  every  day  now, 
were  deemed  utterly  impossible  then. 

(  )f  all  the  debuts  in  the  talkies,  Gloria  Svvanson's  was  the  most  tri- 
umphant. "The  Trespasser"  revealed  her  well-nigh  perfect  qualifica- 
tions.    It  was  doubly  satisfying,  because  it  disclosed  not  a  new  Gloria, 

but  one  that  the  fans  recognized 
John  Gilbert  made  the  mistake  of  antl  responded  to,  because  she 
being  romantic  in  a  staccato  treble.  was  a  thoroughly  familiar  pres- 
ence. Gloria  could  have  made  a 
picture  like  "The  Trespasser" 
just  as  well  in  silence  as  for  the 
audible  screen. 

What  she  did  was  accom- 
plished without  any  strain  or 
extravagant  effort  to  be  differ- 
ent. She  tried  singing,  to  be 
sure,  but  her  lyrical  venture 
was  purely  incidental,  and 
whether  noteworthy  or  not 
would  probably  have  passed. 
As  it  turned  out,  it  was  suitable 
to  the  occasion. 

Norma    Shearer's    endeavors 
have  been  like  that.     In  "The 
Trial  of  Mary  Dugan"  she  re- 
mained    Norma     Shearer — act- 
ing, of  course.     She  showed  ex- 
treme   cleverness,    too,    in    that 
acting.      "The    Last    of    Mrs. 
Cheyney"  and  "Their  Own  De- 
sire" were  a  little  of  a  let-down, 
but  she  did  not  depart  from  her 
past  films  in  either  one  too  vio- 
lently.    She,  like  Gloria,  in  "The 
Trespasser,"  could  have  made  any 
one  of  the  pictures  without  speech 
and  it  would  have  been  acceptable. 
"The  Divorcee,"  trashy  though  it 
is,  continues  to  display  her  natural- 
ness and  the  intelligent  use  of  this 
naturalness. 

Really  the  suggestion  might  be 
Continued  on  page   101 


Monte    Blue's    sturdy    presence    is 
contradicted  by  his  screen  voice. 


Formerly     dramatic, 
Ronald  Colman's  speech 
proclaims    him    a    come- 
dian. 


27 


Behind  that  Curtain 


To  receive  callers   like  this   is  a  bit   informal,   but   one 
can't  be  too  exacting. 


L 


William  Austin,  below,  yells 
for  a  towel. 


1 

H 

♦ 

4 

4 


James    Hall,    left, 

gets     riil    of    that 

morning    -cowl    on- 

tier   the    shower. 


Alice  White,  below, 
lilts  her  eyebrows  in 
surprise,    in    "Show 

Girl   in    Hollywood."' 


f 


I     I 


Lena  Malcna,  above,  loi-ks  happy 
enough  to  sing  in  the  coldest  of 
showers. 
• 
And  of  course  John  Doles,  below, 
must  sing  in  his  bath,  but  his  voice 
being  what  it  is.  nobody  complains. 


28 


Over  trie  Top  xtfitk  Lev? 

The  lead  in  "All  Quiet  on  the  Western  Front"  put   Lewis  Ayres   far  up  the  line  as  a  juvenile  player, 
but   six  months   in   the  make-believe   trenches  left  him  with  no  taste  for  light  pictures. 

By  Samuel   Richard  Mook 


But  little  1  thoughl  my  time  was  coming, 

Sudden   and   splendid — supreme  and  soon; 
Yet  here  1  am  with  the  bullets  humming 

As   I    crawl  and   1   curse  the  light  of  the  moon. 
Out  alone  for  adventure  thirsting, 

Out    in   mysterious   No    Man's   Land, 
Prone  with  the  dead  when  a  star  shell  bursting 

Flares  mi  the  horrors  on  every  hand. 

— Service. 

WAR!       Stark,     naked    realism.       Blood.       Slime. 
Mutilated  youth.      Churches  crumbled.      Ceme- 
teries uprooted.     Shells  screaming.     Shuddering 
men  crouching  in  blasted  graves.    Wails 
and  groans  of  the  dying. 

Twelve  years  ago  and  the  world  has 
forgotten.  The  world  is  afraid  to  re- 
member. Or  should  one  say  was 
afraid  to  remember?  For  afraid  or 
not,  I  doubt  that  the  world  will  ever 
again  be  able  to  hear  strains  of  martial 
music,  see  a  troop  of  soldiers  drilling, 
or  look  at  one  of  the  wooden  crosses 
that  mark  the  graves  in  Flanders,  with- 
out thinking  of  that  simple,  inarticu- 
late little  German  soldier,  in  "All  Quiet 
on  the  Western  Front,"  groping  his 
way  through  the  maze  and  horror  of 
war — toward  what?     Death. 

'  'Death  Takes  a  Holiday,'  "  Lewis 
Ayres  mused.    "Death  needs  a  holiday, 
a  long  one,  after  that.     We  were  six 
months     making     that     picture,     four 
months  of  it  in  a  camp  where  the 
battle  scenes  were  filmed.     It  was 
only  make-believe  with  us,  but  I 
got  an  idea  of  it.     Right  now  I 
feel    just    like    that    German    lad 
must   have   felt  when  they  were 
talking  in  that  dugout,  wondering 


what  they  had  to  go  back  to  after 


the  war  was  over.  They  couldn't 
go  back  to  school — they'd  out- 
grown that.  What  difference  did 
it  make  if   the  earth   was  round, 

or  whether  x  squared  minus  y  equaled  z,  when  you'd 
seen  men  dying  by  inches,  and  had  come  face  to  face 
with  eternity? 

"I  feel  as  let-down  as  that  German  boy.  I  lived  with 
that  war  for  six  months  and  now  that  it's  over,  I  don't 
know  what  to  do  with  myself.  People  call  me  up  and 
say.  'Let's  go  do  so-and-so.'  but  the  things  they  want  to 
do  seem  so  silly  and  empty — so — so  futile,  if  you  know 
what   I  mean. 

"How  can  I  go  back  to  making  program  pictures  after 
doing  a  thing  like  that?  Vet  you  can't  make  an  'All 
Quiet'  every  daw  I've  just  finished  'Common  Clay,'  but 
it  didn't  seem  real. 

"One  thing  thai  spoiled  it  for  me,  I  had  to  dress  up. 
They  got  me  six  suits  from  the  most  expensive  tailor  in 
town,  and  I  look  like  the  devil  in  them.  I  simply  can't 
wear  clothe-." 

lie  was  dressed   in   the  most   spotted  pair  of   slacks  I 


Photo  by  Jones 

boy    soldier    por- 
trayed by  Lewis  Ayres 
in   "All    Quiet"   brings 
to  a  focus  the  futility 
and  misery  of  war. 


have  ever  seen,  not  even  excepting  Neil  Hamilton's 
famous  "personality  pants,"  a  dirty  shirt  and  a  wind- 
breaker  that,  from  its  looks,  might  have  descended  from 
Adam.     But  he  surely  looked  comfortable. 

"I'm  afraid  I'm  not  very  good  in  the  picture.  I  just 
don't  seem  to  fit  into  light  things  very  well."  He  paused 
for  a  moment  and  that  baffled  look  came  into  his  eyes, 
the  one  seen  so  often  in  the  eyes  of  the  little  German. 

In  a  way  Lew  is  terrifically  worldly-wise  for  his  age — 
he's  just  twenty-one — and  in  another  way  he  is  the  most 
naive  person  I've  ever  met. 

He  left  home  when  he  was  six- 
teen to  go  to  the  University  of 
Arizona,  and  he's  been  alone  ever 
since.  He  didn't  remain  at  the 
university  long.  He  plays  the 
banjo,  guitar,  and  piano.  He 
played  with  the  university  orches- 
tra, and  when  he  found  that  his 
studies  interfered  with  his  music, 
he  gave  up  the  studies. 

From  there  he  drifted  from 
one  orchestra  to  another,  down 
in  the  border  towns.  Mexicali, 
Nogales,  Tiajuana  all  knew  him. 
Life  in  those  towns  is  elemental. 
How  a  kid  seventeen  or  eighteen 
could  have  come  through  that 
and  remained  as  clean  as  Lew  is 
a  mystery.  Lew  says  it  is  only 
because  he  was  such  a  kid  that  he 
did  manage  to  come  through 
clean.  "Everybody  was  mother- 
ing me  or  fathering  me  or  big- 
brothering  me.  I  couldn't  have 
gone  wrong  if  I'd  wanted  to." 

From  there  he  came  to  Los 
Angeles  and  began  playing  with 
the  orchestras  around  town.  Oc- 
casionally he'd  go  to  the  studios 
trying  to  get  work  in  pictures. 

"Finally  I  made  up  my  mind 
that  you  can't  play  all  night  and 
look  like  anything,  if  you  go  to  the  studios  during  the 
day,  so  I  gave  up  the  orchestra.  I  had  saved  a  little 
money  and  I  spent  most  of  it  on  a  wardrobe.  But  noth- 
ing happened.  I  had  about  a  thousand  dollars'  worth  of 
band  instruments  and  I  hocked  every  one  of  them.  I 
had  determined  that  I  was  going  to  fight  to  get  into  pic- 
tures to  the  last  breath.  Then,  if  I  still  hadn't  landed, 
I'd  just  have  to  go  back  to  playing  and  forget  about 
pictures. 

"Ivan  Kahn,  the  agent,  saw  me  dancing  with  Lily 
Damita  and  assumed  that  I  was  an  actor.  He  sent  for 
me  and  signed  me.  Ivan  got  me  a  contract  with  Pathe. 
I  did  a  bit  in  'The  Sophomore,'  and  they  let  me  go  after 
six  months,  without  my  ever  appearing  again  before  the 
camera. 

"Paul  Bern  gave  me  the  contract  with  Pathe.  When 
he  went  over  "to  M.-G.-M..  he  sent  for  me  to  do  the 
pari  with  Garbo  in  'The  Kiss.'     He  was  also  indirectly 


Over  the  Top  \tfith   Lev? 


■  >,, 


responsible  for  mj  getting  the  part  in 
'All  Quiet.'  Wasn't  that  swell  of  him? 
And  1  hardly  know  the  man.  Until 
the  premiere  of  'All  Quiet,'  I'd  never 
even  seen  him  outside  the  Studio. 
Why,"  In.-  added  naively,  "I  still  call 
him  Mr.  Bern,  which  shows  how 
slightly  1  know  him."  It  does,  in- 
deed, in  Hollywood. 

Lew    is   one    of    the    very    few    hoys 

I've  met  out  here  who  i-  a  gentleman 
at  heart.  A  lot  <.>i  them  have  acquired 
a  veneer  along  with  their  cars,  hank 
rolls,  and  one  thing  and  another,  but  it 
is  inherent  in  Lew. 

08  I  asked  him  it  he  chased 
around  much.  In  Hollywood,  either 
you  i\o  or  you  don't.  Arthur  Lake. 
Billy  Bakewell,  Frank  Albertson,  and 
Stanley  Smith  all  have  large  cifcli 
friends.  They  are  on  the  <,ro  con- 
stantly and  are  boyishly  proud  of  their 
jKtpularitv.  On  the  other  hand.  David 
Rollins.  Rex  Hell,  and  Phillips  Holmes 
loudly  protest  that  they  never  go  out. 
and  then  launch  into  lengthy  disserta- 
tions to  prove  that  they  don't.  But  try 
to  catch  one  of  them  at  home  after 
eight  o'clock  in  the  evening! 

Lew  looked  at  me  in  blank  astonish- 
ment as  though  to  say.  "What  possible 
interest  can  any  one  have  in  I  hut!" 
But  he  didn't  say  it — he's  too  much  of 
a  gentleman.  "No,"  he  said  quietly, 
*'I  don't  chase  around  much."  And 
that  ended  it. 

He  is  extremely  shy.  particularlv  in 
the  presence  of  -tranter:-,  and  seldom 
speaks  unless  first  spoken  to.  It  takes 
some  time  for  him  to  warm  up  to  a 
n.  and  he  violently  dislikes  hav- 
ing people  pay  the  slightest  attention 
to  him.  Yet,  with  it  all.  there  is  a  cer- 
tain quiet  dignity  about  him  that  com- 
mands respect. 

On  another  occasion  he  told  me 
about  the  course  of  -prints  he  was  put 
through  while  being  initiated  into  a 
fraternity.  The  prank-  would  have 
been  considered  sport  ordinarily,  hut  in  this  case 

one  merely  wondered  how  even  a  group  of  boys  could 
take  such  liberties  with  the  Awes  body.  I'd  as  soon 
think  of  slapping  Jetta  Goudal  or  Gloria  Swanson  on 
the  hack  with  a  "Hi.  kid.  how's  trick-?"  And  a  matter- 
of-fact  recital  of  sordid  details  by  Lew  gives  you  the 
feeling  of  having  had  a  glass  of  cold  water  flashed  in 
your  face  when  you  weren't  expecting  it. 

"You've  u"'t  the  wrong  idea  about  Lew."  Billy  Bake- 
well  told  me.  "He  isn't  a  prude  and  he  isn't  stand- 
offish. He  likes  to  kid  as  well  as  any  one,  and  don't 
think  that  he  can't  top  your  wisecracks." 

Lev.  he  alone,  hut  he  i-  naively  pit 

when  any  one  taking  him   to   meet    some   one 

he's  seen  and  liked  on  the  screen. 

He  gives  you  the  impression  of  being  moody.  A 
if  he  wa-.  he  gave  me  another  of  those  baffled  look>  and 
-aid  he  didn't  know.  He  looks  you  squarely  in  the  eye. 
hut  he  has  a  trick  of  hesitating  before  he  -peak-,  as 
though  he  was  not  exactly  Mire  of  hi-  answer.  A 
matter  of  fact,  he  isn't  He  hasn't  quite  found  himself 
yet.      L  :ig  through   a  period   of   unrest   and   ad- 

justment. 


Uy  Jone: 

Lew   Ayres   is 


called    by    Mr.    Mook   a   gentleman    at    heart,    without    being 
"ga-ga"  in  any  respect. 

1  asked  if  he  is  easily  depressed.    "Oh.  I  don't  kno 
1  don't  think  so — except  music.     That  does  things  to  me." 

"Music!"      That   sounded    funny.      A    chap   who 
played  in  jazz  orchestras. 

"Yes.  There's  been  -"me  kind  of  metamorphosis  in 
me  during  this  pa-t  year.  I  used  to  he  crazy  about  jazz. 
Xinv  I  don't  can-  for  it  at  all.  When  I  first  started 
playing  the  banjo,  I  wanted  to  he  the  best  banjo  player 
in  the  world  and  all  that   sort  of  thing." 

lie  grinned  and  looked  at  me  rather  sheepishly,  as 
though  afraid  of  being  laughed  at.  But  you  don't  laugh 
at  young  Mr.  Ayres.     You  listen  attentively. 

If    Jack    Oakie    told    you    he'd    fallen    in    love    with    a 
prince--,  between  shouts  of  derisive  laughter  you'd  find 
yourself   "oh-yeahing?"   and   asking   if    she   came    from 
the  water  front  or  the  Bowery.     If  Lew    \\n-  told 
that,  you'd  find  yourself  sympathizing  with  him. 
the   passion    was   hop<  ' 

And  speaking  of  princesses  brought  us  to  the  all-im- 
portant topic  of  girls.     "I   fall  in  love  with  almost 
pretty  fdrl   I  meet,  hut  it  doesn't  last  long.      I'm  no  g 
with  them  and  they  SOOn  tire  of  inc.      I'm  not  a  hoofer. 
tinm  •!  "i 


30 


A 


LI.  is  not  gold  that  glitters,  but  how  we  love  the 
glitter,  unci  how  bitterly  we  need  the  gold!  Young 
and  old,  we  seek  money,  and  how  can  it  be  other- 
wise? We  long  to  see  tangible  evidences  of  success. 
We  listen  unwillingly  to  admonitions  about  mora!  and 
spiritual  values,  about  beauty  and  ideals,  about  love,  if 
the  satisfaction  they  offer  is  supposed  to  disregard  ma- 
terial such  ss. 

After  all.  what  is  this  success  but  the  reaction  of  the 
world  to  what  we  have  to  give  it?  Oh,  T  know  all  about 
those  intangible,  divine  sparks  that  exist  between  beauty 
and  admiration,  between  inspiration  and  devotion,  be- 
tween service  and  gratitude.  But  how  shall  admiration 
and  devotion  and  gratitude  prove,  in  a  tangible,  concrete 
way,  their  desire  to  reciprocate,  except  by  transforming 
the  incense  they  burn  before  the  donors  of  these  lovely 
gifts  into  the  cruder  element  of  gold? 

\\  hat  do  all  who  receive  have,  in  some  tiny  degree  at 
least,  if  not  gold?  What  can  one  give  that  has  actually 
cost  him  effort  to  give,  if  not  gold?  Money  is  trans- 
muted, by  a  more  subtle  alchemy  than  we  dream  of, 
into  a  spiritual  gold.  A  life  for  a  life,  in  a  noble  sense, 
a  drop  of  the  sweat  of  my  brow,  of  the  blood  in  my 
veins,  in  return  for  yours  ! 

This  is  the  law  of  true  relationships,  for  nothing  can 
grow  out  of  nothing,  or  he  accepted  for  nothing.  The 
man  horn  rich  and  who  learns  nothing  of  earning  is 
more  pitiable  than  can  be  imagined.  What  he  gives 
costs  him  nothing,  and  what  he  receives  in  return  is 
equally  worthless.  The  sower  must  plant  the  seed  if 
be  wishes  the  crop  to  grow.  Spoilers  are  despised,  and 
of  them  the  people  say,  "That  kind  of  monev  won't  do 
them  any  good."     But  the  man  despoiled  is  mocked. 

So  the  earning  of  wealth  is  spirituallv  justified,  for 
bow  can  one  imagine  the  vibration  of  infinite  harmony, 
positiveness  and  achievement  to  express  itself  perfectly 
while  it  still  permits  material  negation0  But  this  wealth 
must  be  based  on  universal  understanding  and  the  desire 
for  universal  good,  or  it  will  be  a  curse  instead  of  a 
blessing.  It  is  said  that  the  love  of  money  is  the  root 
of  all  evil.  It  is  indeed.  To  love  money  for  its  own 
sake  is  to  subordinate  the  spirit  to  the  outer  expression, 
and  when  that  takes  place  the  outer  expression  is  utterly 
deformed.  Wealth  that  brings  love  and  satisfaction  and 
freedom  was  never  sought  for  its  own  sake,  but  was  the 
result  of  a  life  expressing  itself  fully  and  freely  from 
every  point  of  view. 

Remember  that  wealth  is  a  very,  very  elastic,  com- 
parative term.  If  beauty  lies  in  the  eye  of  the  beholder, 
wealth  lies  in  the  size  of  a  man's  purse.  Fill  it.  and  he 
is  rich.  Xo  human  or  celestial  being  could  promise 
Ugh  to  the  man  whose  demands  grow  out  of  all  pro- 
portion to  his  circumstances  and  his  needs.  In  him  the 
love  of»  money  is  horn,  to  grow  up  into  a  poisonous, 
death-dealing  plant.  Do  not  look  forward  to  millions  or 
half  millions,  if  money  is  indicated  in  the  letters  of  your 
name,  unless  yon  are  on  speaking  terms  with  more  than 
a  Few  thousand!  Nol  that  you  may  not  really  get  it, 
many   a   penniless   boy   or   girl    has   done   just    that. 


Tke  Mastery 

In  this  fascinating  new  department  will  be  found 
examples  of  its  influence  on  the  lives  of 


B?  M 


onica 


But  no  name  can  indicate  the  actual  extent  of  such  a 
material  thing  as  wealth,  but  only  its  general  degree 
and  kind. 

The  spirit  of  a  man's  activity  permeates  every  breath 
that  he  breathes,  and  this  every  vibration  of  every  cell 
in  his  body,  every  tone  of  his  voice,  every  decision  be 
makes,  every  stroke  of  his  pen.  Thus  the  nature  of  his 
success  is  very  evident  in  numbers.  Of  the  names  of 
four  great  financiers,  taken  at  random,  three  show  in 
the  complete  number  for  birth  and  name  together  the 
number  Eight,  which,  when  so  placed,  is  the  sign  of 
great  business  success.  The  first  John  Jacob  Astor  re- 
veals in  his  name  that  be  attained  wealth  by  his  wonder- 
ful intelligence,  activity,  and  intuition,  most  of  all  the 
latter,  for  the  number  Seven  of  intuition  or  hunch  is  his 
on  the  material  side  of  life.  He  snapped  up  oppor- 
tunities, because  he  saw  them  and  understood  them  more 
quickly  than  did  others,  and  also  because  he  was  not 
afraid  to  make  a  lightninglike  decision  based  on  a  deep, 
even  if  unexplained,  conviction  of  being  right. 

The  elder  J.  Pierpont  Morgan  came  into  riches 
through  his  great  creative  ability  and  effort.  Nothing 
came  his  way  without  an  unusual  struggle  on  his  part. 
But  he  had  also  the  kind  of  constructive  power,  quite 
apart  from  the  creative  ability,  that  made  him  able  to 
build  sky-shaking  towers  out  of  ruins  left  by  others,  out 
of  his  own  ruins,  too. 

Andrew  Carnegie  became  one  of  the  world's  richest 
men  by  physical  and  intellectual  force  comhined.  by  an 
overwhelming  spirit  of  domination  that  let  nothing  re- 
main standing  in  bis  path. 

These  readings  deal  with  the  chief  elements  of  suc- 
cess in  these  men,  and  do  not  take  into  consideration 
their  other  qualities.  Least  of  all  is  it  here  a  question  of 
the  methods  they   used  or  the   happiness  they  attained. 

Numbers  can  express  wealth  as  the  result  of  many 
different  kinds  of  activity.  It  may  be  the  product  of 
pure  business  transactions,  as  in  the  lives  of  the  men 
described  above,  or  the  outer  expression  of  an  inward 
capacity,  such  as  art,  or  the  result  of  a  full,  well-rounded 
life  come  into  its  material  own.  Or  it  may  appear  as  a 
gift  straight  from  heaven,  although  heaven  does,  to  be 
sure,  use  some  convenient  intermediary  such  as  a  de- 
ceased uncle,  or  a  wonderful  break  in  getting  a  new  job, 
or  other  such  source  apparently  independent  of  one's 
own  vibrations. 

( ',i  ■tinned  on  page  98  • 


31 


of  Your  Name 

an  explanation  of  the  science  of  numbers.     Besides 
stars,  the  names  of  readers  are  also  analyzed. 

Andrea   Shenston 


What  Loretta  Young's  Name  Tells 

YOU  have  one  of  the  finest  names  1  have  ever  seen, 
dear  Loretta  Young.  Use  it  by  all  means,  in  full, 
just  as  vou  received  it  at  birth,  every  time  you 
sign  any  important  document,  and  don't  let  the  con- 
sciousness of  it  escape  from  you.  no  matter  what  else 
vou  may  allow  yourself  to  be 
called.  The  name  Loretta  will 
do  well  enough  for  screen  and 
publicity  purposes  as  long  as 
you  don't  let  it  grow  into  your 
thought  as  really  your  own. 
for  it  will  bring  you  heart- 
break and  financial  loss  in  pro- 
portion as  you  accept  it. 

ur  real  full  name  is  filled 
with  activity,  power,  wealth, 
and  independence,  and  with  it 
unchanged  you  will  live  to  be 
a  determined,  lively,  sue 
ful.  delightful  old  lady  of 
ninety-five  or  more,  who  will 
look  at  least  twenty  years 
younger  than  she  is,  up  to  the 
very  last  breath ! 

As  far  as  determination 
goes,  you  don't  need  to  wait 
for  old  age  to  achieve  it ! 
have  so  much  of  it  now  that 
it  is  likely  to  trip  you  up 
rather  often.  Your  name, 
long  as  it  is,  has  only  two 
negative  letters  in  it,  and  out 
n  different  totals  onlv 
three  have  anything  attached 
to  them  but  positi veness, 
force,  and  activity.  Almost  too 
much  good,  dear,  for  such  a 
young  girl  to  carry  without  being  just  a  little  bit  upset. 

Your  birth   path  of   Two  shows   wonderful   imagina- 
tion, great  sensitiveness  to  any  in 

of  the  positive  numbers  all  around  it.  the  to  put 

radiant,  vibrant  life  into  the  lovely  form  that  your 
imagination  creates.  This  dreamy  quality  gives  you  just 
the  balancing  softness  that  you  otherwise  lack,  so  don't 
despise  it  or  try  to  outgrow  it.     Without  it  you  could  not 


You  are  one  of  the   wor 
girls,  Loretta  Young,  as 


\  he  a  fine  acnes'-.    Dream  dreams,  dear  Loretta, 
and  your  dreams  will  come  true,  not  from  the  outside, 

hut  from  within  your  own  nature,  since  you  will  immedi- 
ately get  to  work  and  see  to  it  thai  they  do. 
It  is  a  fine  thing  also,  t<>  be  able  to  respond  to  the 

vibrations  of  others,  understand  them  from  the  inside, 
so  to  speak,  especially  when  you  are  too  active  and  self- 
assured  to  let  this  sensitiveness  gain  too  much  control 
over  you.  But  you  do  have  to  use  real  intelligence  in 
deciding  what  you  will  respond  to,  since  your  natural 
fire  is  likely  to  cause  too  great  a  conflagratibh  if  your 
imagination  is  aroused  to  a  very  high  pitch,  and  you 
will  suffer  a  great  deal  before  the  blaze  is  put  out. 

The  complete  digit  of  name  and  birth  together,  Num- 
ber Three,  is  an  indication  of  creative  power,  pride, 
generosity.  You  love  to  do  things  for  people,  you  love 
just  to  do  things,  and  you  like  to  he  praised.  You  have 
the  power  to  make  anything  come  true,  if  you  put  all 
your  determination  and  activity  behind  it.  shutting  your 

eyes  to  any  possibility  of 
failure.  Hut  this  is  a  danger- 
ous gift.  If  you  look  forward 
to  disaster,  disaster  will  fol- 
low, just  as  easily  as  good 
will,  if  you  are  building  for 
good.  This  is  the  power  that 
makes  your  imagination  so 
wonderfully  worth  while.  This 
number  also  means  hard  work, 
hut  that  will  never  bother  you, 
since  your  natural  vitality 
simply  thrives  on  it. 

In  divinity  and  in  the  ma- 
terial you  have  the  same  num- 
ber, which  is  Five,  the  number 
of  great  activity,  wonderful 
mentality,  truthfulness,  exec- 
utive ability,  success.  You 
grasp  anything  whatever  very 
quickly,  and  you  are  miserable 
if  you  have  to  do  anything 
without    understanding   every 

detail.  You  hate  delay  and 
are  always  rushing  out  to  do 
things  yourself,  instead  of 
waiting  to  have  them  done. 
When  you  were  a  little  girl, 
they  said  that  you  danced  with 
excitement,  and  you  still  do, 
inwardly  if  not  so  much  out- 
wardly, for  in  your  first  name 
you  have  a  great  deal  of  poise  and  a  willingness  to  let 
things  go.  This  contradiction  in  your  nature  will  last 
only  a  few  years  more,  and  after  that  you  will  he  much 
harder  to  pies 

You   were   a   very   quick,    warm-hearted    little    girl    at 
the  age  of  two  or  three,  with  a  temper  that   has  not  left 
you   yet.      It    popped    up   in    lively    fashion    between    ten 
tinued  <•< 


Id's   most   self-sufficient 
you  will  soon  discover. 


32 


c^V, 


To  While 


Yes,    though    busy    emoting    and    fighting    to    hold 
have   idle  hours  which  are  pleas 


Slightly  piratical  is  the  beach  costume 

of   June    Clyde,    left,    whose    trousers 

are   orange   and   blue   taffeta,    with   a 

jersey  to  match. 


Fifi  the  Dorsay,  right,  makes  a  joke 

of    her    beach    togs,    the    exaggerated 

trousers  of  tan   Shantung,  the  blouse 

and  jacket  of  crepe  de  Chine. 


Mary    Brian,    center,    augments    her 

dashing   pajama    suit   with    a   wig  of 

yellow  yarn   to   protect   her  hair. 


I 


Lila  Lee,  left,  is  colorfu 
in  an  outfit  consisting  of 
rr<l  and  white  pique,  crape 
blouse,  and  w  h  i  t  e  silk 
trousers. 

Believe  it  or  not,  Helen 
Kaiser,  right,  wears  red 
flannel  trousers,  with  a 
blue  stripe  running  down 
the  seam. 


tke  Time  Axtf  ay 

onto    their    careers,    the    girls    of    Hollywood    still 
antest  when  they  look  their  best. 


33 


It's  Latin  La  Plante,  left,  whose  p.v 
jama  costume  is  JO  very  nautical. 


Talk    about    the    well-dressed    girll 
perfect  example  is  Leila  Hyams, 

right 


Raqucl    Torres,    center,     glorifies 
stripes,  and  they  glorify  her  slimness 


lple  print  is  the  ch 
of  Bessie  Love,  left,  wl 
colors  an  f  yellow, 

with     hat     and     sandals    of 
lemon   straw. 


Silks    and     ~ntins    have    no 

Twelvi  ight, 

girlish!  y     indil 
whether  her  cheap  print 
mussed  or  not. 


Olie  Incomparable  CkeValier 

The    famous    Frenchman,   whose   name  has  become    a  byword,   yields   intimate   impressions   to  a  shrewd 

interviewer. 

B>?  Malcolm  H.  Oettinger 


Maurice  Chevalier 
is  said  to  have  re- 
fused $5,000  to  sing 
at  a  private  party, 
because  he  didn't 
like   the   guests. 


THE  droll  Maurice,  the  inimitable  Chevalier,  is  one 
of    Paramount's   kinder    gifts    to   the    American 
public     The  Frenchman's  smart  pictures  repre- 
sent  Paramount  in  one  of  her  most  benign  moods. 

This  company,  remember,  has  given  us  a  wide  as- 
sortment of  entertainers,  but  they  haven't  always  enter- 
tained. However,  the  scale  has  balanced  favorably,  on 
the  whole.  The  Bow  epidemic  was  largely  ofl&set  by  the 
Menjou  series  of  comedies:  if  you  were  less  than  de- 
lighted with  Mary  Brian,  Lupe  Yelez,  and  Esther  Rals- 
ton, you  found  relief  in  Kay  Francis.  Baclanova,  Tan- 
nings,  and  Powell.  And  now  Paramount  has  counter- 
balanced Buddy  Rogers  by  bringing  us 
Chevalii 

Just  as  "Anna  Christie"  firmly  intrenched 
bo's  topmost  position  among  stars  on 
the  distaff  side,  so  did  "The  Love  Parade" 
establish  Chevalier  at  the  head  of  the  male 
procession.  Garbo  demonstrated  definitely 
and  artistically  that  the  microphone  held 
no  terrors  for  her:  she  dominated  scenes 
with  such  fine  troupers  as  George  Marion 
and  Marie  Dressier:  she  carried  the  dra- 
matic action  along  with  splendid  pace;  she 
exercised  the  same  magic  in  articulate  pic- 
tures that  has  always  marked  her  appear- 
ances in  silent  show. 

Chevalier,  similarly,  holds  the  screen  un- 
challenged while  he  is  on  it.  His  magnet- 
ism, his  presence,  and  his  sparkling  per- 
sonalitv  make  him  a  figure  to  conjure  with. 
No  wonder  the  powers  are  reimbursing 
him  lavishly.  The  figure  is  said  to  ap- 
proximate $5,000  weekly. 

When  he  was  announced  as  the  lone  star 
of  what  was  termed  "An  Intimate  Eve- 
ning of  Songs,"  New  Yorkers  paid 
$48,000  in  two  weeks  to  hear  him.  An 
ebony  orchestra  served  between  arias,  but 
as  far  as  the  audience  was  concerned,  it 
was  tout  Chevalier.  Jolson  is  the  only 
American  performer  of  similar  talent  who 
has  duplicated  this  performance.  Each 
man  holds  his  listeners  in  the  hollow — to 
coin  a  phrase — of  his  hand.  In  person,  Jol- 
son's  grin  is  quite  as  infectious  as  the 
Frenchman's.  On  the  screen  Chevalier 
wins  out,  I  think. 

Not  long  ago  Maurice  refused  an  offer 
of  $5,000  to  chant  four  songs  at  a  Park- 
Avenue  party,  it  is  told.  He  didn't  like  the 
people  who  had  been  invited. 

Even  the  most  casual  analysis  explains 
the  dynamic  Frenchman's  instantaneous 
success.  Firsl  of  all,  he  is  possessed  of 
an  ingratiating  personality  that  is  based 
upon  what  has  come  to  be  known  as  sex 
appeal.  Secondly,  he  has  genuine  talent. 
lb  puts  a  son»  across  with  pace  and 
precision,  drawing  his  audience  with  un- 
hands. Thirdly,  he  has  that  com- 
pelling smile. 


When  he  was  at  the  Long  Island  studio  finishing 
"The  Big  Pond"  I  found  him  charming  but  diffident, 
debonair  but  reluctant. 

On  the  set  he  is.  sober  and  serious  to  a  degree,  wholly 
intent  upon  the  matter  at  hand.  Picture  making  is  hard 
work,  he  will  tell  you.  He  lacks  the  fine  scorn  charac- 
teristic of  many  American  stars.  Likewise  he  rejects 
direction  that  strikes  him  as  poorly  timed  or  otherwise 
ill-advised.  Laughs  must  be  spaced,  gestures  timed.  In 
other  words,  Chevalier  is  not  one  of  your  born  actors. 
He  is  a  craftsman  working  with  tempered  tools. 

That  he  is  business  man  as  well  as  actor  was  amus- 
ingly brought  out  when  he  mentioned  the  box- 
office  record  of  "The  Love  Parade."  "In 
England  alone,"  he  said  with  naive  pride,  "the 
gross  will  clear  the  cost  of  production.  All 
other  income  will  be  so  much  velvet.  That  is 
not — bad."     He  shrugged.     Smiled. 

"This  will  be  another  good  one,   Maurice," 
declared  Hobart  Henley,  the  director. 

.Chevalier    grinned    dubiously,    then    replied, 
"I'll  tell  you — afterward." 

There  is  a  generous  sprinkling  of  the  skeptic 
in  his  make-up.     He  realizes  that  all  is  perfect 
in  this  most  perfect  of  worlds  only  so  long  as 
you  stick  to  your  last,  tend  to  your  knitting, 
and    seize    your    share    of    the    much- 
sought-after  breaks.     Artistry,  tempera- 
ment, and  earnest  endeavor  are  all  beau- 
tiful concepts,  says  the  cynic  in  Cheval- 
ier, but  other  things   shape   success  or 
failure.     Thus   his   shrug   conceals   his 
anxiety,  his  smile  masks  his  concern. 

Hollywood  he  finds  provincial.  New 
York  pleases  him,  possibly  because  it 
suggests  Paris.  "Always  I  must  have 
vacation  there,"  he  confessed.  "Paris 
is  necessary  to  my  happiness." 

In  Paris  Chevalier  achieved  fame. 
For  years  he  has  been  a  popular  star. 
At  one  time  he  was  the  dancing  partner 
of  the  ageless  Mistinguett,  later  dancing  with 
the  lovely  Yvonne  Valle,  currently  Madame 
Chevalier.  They  live  at  the  most  Parisian 
hotel  Manhattan  offers,  the  Elysee,  tucked 
away  in  East  Fifty-fourth  Street. 

While  the  suave  Maurice  was  rehearsing 
a  scene  with  Claudette  Colbert,  an  assistant 
director  inadvertently  dropped  a  sheaf  of 
papers.  Maurice  stopped  in  the  middle  of 
a  sentence  and  fixed  the  offending  assistant 
with  a  mildly  annoyed  eye. 

"Please,"  he  said  soothingly,  patiently, 
"please  do  not  cause  commotion  wdiile  we 
are  running  through  this.  It  is  difficult.  We 
must  concentrate.  There  are  many  lines  to 
remember.     Please." 

Silence  ensued.  Chevalier  calmly  picked 
up  the  scene  from  the  beginning,  and  the 
rehearsal   proceeded,   uninterrupted. 

The  average  actor  takes  direction  blindly, 
(  i  intinued  on   page   113 


35 


%^fer 


2*  * 


Photo  by  M— If  GeldVctf 


MAI   RI<   i  W.IKR  at  work  i.  rather  different   irom  tli< 

smiling,  debonair  personality   one  sees  on  the  mi.cii       I! 
•"t«T  ami   wholly   intent   upon   thr  m.ittrr    .it   li.m.l,  ..n<I   BO  detail   b 
^nall    to    claim    bis    atlcnt,.  Malcolm     H      Uett 

opposite. 


36 


A  LADY  of  gracious  mien 
is  Alice  Joyce,  who  oc- 
cupies a  distinctive  position 
in  the  movie  world,  for  she 
appears  on  the  screen  only 
rarely,  yet  suffers  no  loss 
of  popularity  in  her  intervals 
of  retirement  with  her  fam- 
ily. She  has  achieved  the 
happy  balance  of  loyalty 
both  to  the  public  and  her 
two  young  daughters. 


Photo  by  Irving  ChltlnoB 


37 


JEAN  ARTHUR  comes 
quietly  to  the  tore  to  reap 
the  rewards  of  good  acting. 
Minus  the  elocutionary 
flights  of  the  stage  star,  she 
manages  nevertheless  to 
charge  her  everyday  voice 
with  meaning,  expression. 
and  extreme  naturalness. 
She's  just  another  one-time 
silent  player  whose  best 
friend  is  the  microphone. 


Pboto  by  Otto  Dr»r 


38 


Photo  by  Bussell  nail 


THAT  likable  Irishman,  Jack  Mulhall,  goes  merrily  on  gather- 
ing new  tans  and  holding  the  old  ones  as  he  shifts  expertly 
from  comedy  to  drama,  from  society  to  the  underworld,  and  so 
on,   without  ever  getting  out  of   step. 


39 


^     &*+ 


Pbot*  b»  Ednrt  Th»>er  M  . 


A   PRIMA   DONNA   vho  CM  act  a~  well  as  NBf  is  rare  CBOOgfa 
t«.  he  a   phenomenon.      .Such    is    Kvrlyn    I  i    the 

Knti^h  |iuhlic.  who  u  m  «r  in  "Moon  M..<!ih    -. '  I  musi- 

cal picture,   for  Samuel  Gttldwya 


40 


IF  you  saw  Phillips  Holmes,  in  "The  Devil's  Holiday,"  you  won't 
1  wonder  at  the  satisfaction  of  the  critics  in  their  discovery  of 
inking  ability  in  a  youngster  who  is  good  looking  enough  not  to 
bother  with  anything  else. 


Photo  by  Olto  Dyir 


. 


41 


5*    « 


X 


Phata  b»  Hcrmaa  ZarraaaaT 


GAY,  pretty,  and  pungent  as  her  name,  Gtngl r  '  '  rea' 

comedienne  whose  presence  in  a  picture  evokes  chuckles 
irom  the  hla>e  and  sighs  of  thanksgiving  from  those  who  arc 
mrfettcd  with  negative  newcomer-  Ii«r  next  treat  i-  "Oucen 
High." 


42 


Photo  by  Elmer  Frjer 


LAURA  LA  PLANTE  began  as  an  extra  and  became  an  actual 
star,  one  of  the  few  to  achieve  this  distinction,  yet  Margaret 
Reid,  in  analyzing  her  career  and  character  opposite,  finds  her 
devoid  of  the  egotism  and  drive  expected  of  stellar  personalities. 


Laura  La   Plante  is  really  a  mouselike  person,   the   victim    of  a  never  outgrown  shyness   except   with   intimate   friends. 


L 


aura 


As  Ske  I; 


Miss  La  Plante  is  the  subject  of  a  favorite   writer's  intimate  yet  impersonal  appraisal. 


By  Margaret  Reid 


SHE  admits  without  hesitation  to  twenty-five   war-. 
instead  of  the  customary  nineteen  or  twenty.     And 
at  twenty-five  she  is  an  acknowledged  veteran  of 
her  business,  having  been  camera-minded  now  for  nigh 
onto  ten  years.    It  being  just  that  long  ago  that  Christie 
-ented  a  chubby,  long-curled   ingenue   named   Laura 
La  Plante. 

Born  in  St.  Louis,  Missouri,  in  the  old  French  Market 
district,  the  one  admirable  thing  about  her  birthplace 
being  that  it  was  only  two  blocks  from  the  home  of 
Eugene  Field,  she  found  herself  in  a  family  group 
headed  by  a  lady  school-teacher  and  a  dancing  master. 
Her  mother.  Elizabeth  Turck.  a  woman  of  culture  and 
intelligence:  her  father.  William  La  Plante,  a  teacher 
die  dance  unhampered  by  any  great  sense  of  re- 
nsibility.     Here,  in  an  atmosphi  genteel  pov- 

erty, Laura  grew  to  a  not  particularly  happy  nine  y< 
of  af 

Then  she  and  her  younger  >i>ter,  Violet,  were  sent  to 
the  home  of  cousins  in   Los   Angeles,  while   Mrs.   I. a 
te  took  legal  farewell  of  the  dancing  master.     Her 
loin    regained,    the    courageous    school-teacher    took 
small  girls  to  San  Diego,  that  she  might  earn 
their  living  in   surroundings   untainted   by  bitter   mem- 
A    growing   deafness    prevented    her    resuming 
school   work,  but   she    found   employment    in    a  depart- 
ment store,  and  established  a  tiny,   pathetically   mod 
tie.      She    saw    that    her    children    received    the    h 
'able  in  education,  and  even  interested  a  music  pr>>- 
:i  them  to  the  extent  of   free  instruction.   Violet 
and  Laura  violin.     Alter  more  than 
nary  success  in  recitals,  the  two  1  i 1 1 1 ■  decided 

that  music  was  to  be  their  e  to    fame  and 

:ne. 
During  a   summer   vacation   with    their    Los    At 
cot  CCUrred  to  Laura  that  a  good  idea  would  be 

jet  work  in  pictures,  thereby  swelling  the  family  i 
-  when  she  returned  home.     Vague  cont.v  fol- 

lowed by  the  determined  Laura,  until  sh<  tra  work 

at  Christie's.     Just  l>eforc  her  expected   return  to  San 


Diego,  she  was  offered  a  stock  contract,  and  > 
whelmed  was  she  at  the  prospect  of  twenty-five  dollars 
a  week  that  all  other  ambitions  vanished  before  her 
oncoming  picture  career.  Later  she  was  signed  by  Uni- 
versal for  two-reel  Westerns,  and  rolled  luxuriously  in 
the  wealth  of  forty  dollars  a  week. 

Between  work  at  Christie's  and  her  Universal  con- 
tract came  her  first  (ling  at  drama.  Signed  for  a  role 
in  a  Louise  Glaum  picture,  she  acted  with  such  energetic 
relish  the  tragedy  of  her  part  that  when  she  proudly 
took  her  mother  and  sister  to  see  the  picture,  no  trace  of 
Laura  remained  in  the  finished  print. 

A  number  of  routine  roles,  undistinguished  except 
the  school  coquette  of  Charles  Ray's  "The  Old  Swim- 
min'  Hole,"  was  all  she  had  to  her  credit  when  Reginald 
Denny,  much  against  his  will,  was  forced  by  Universal 
to  accept  her  as  his  leading  lady.  'This  was  her  first 
opportunity  at  farce-comedy.  At  the  end  of  the  picture* 
Denny  demanded  that  she  he  cast  ,-(s  lead  in  the  on< 
follow.     At  the  end  of  the  year  she  was  starred. 

Where  the  thoroughly  nice  young  Mis.  William 
Seiter  hides  the  farce  of  her  screen  self  would  he  diffi- 
cult to  determine.  The  camera,  ever  a  tricky  gadget,  has 
performed  more  than  ordinary  magic  in  transforming 
Laura  into  a  sparkling  comedienne.  Instead  of  changing 
her  appearance,  as  i>  more  usual,  it  changes  her 

ality.      And  no  one   was  more  surprised   than   Laura 
when  she  turned  out  to  he  an  (Xpert  Laugh-getter. 

Mr.  Seiter's  demure,  quiet  wife  is  not  only  lacking  in 
indications  of  the  comedienne,  hut  also  in  any  indications 
of  the  actre  f-contained.  sensible,  completed  with- 

out glamour,  Laura  is  a  well-bred  young  woman  wl 
connection    with    movie!  •     when     she    leaves    the 

lio. 

Known   to  her   intiin  a   mouselike   person,   and 

the  victim  of  a  never  outgrown   sh) 
sionally  disturbed  by  her  lack  of  luster.     When  her  I 
hand.   ::  nl    who   would    he   equally   at    home    in   a 

thug's  bang-out  or  at  a   Buckingham   Palace  reception, 
■ 


44 


Hollywood  Rides  its  Goats 

A  few  persons  are  picked  out  as  extreme  examples   of  vice,  temperament,  and  peculiarity,  and  gossip 
lets  the  others  drift  along  in  their  own  sweet  way,  unmolested  and  almost  unmentioned. 


By  Carroll  Graham 


Illustrated  by  L>ui  '"Qrugo 


SOMETHING  really  should  be  done  about  Holly- 
wood's pet  goats,  besides  constantly  riding  them. 
Hollywood  is  an  odd  place,  as,  I  believe,  one  or 
two  people  have  mentioned  before,  and  among  the  other 
odd  customs  of  that  community  is  the  habit  of  selecting 
a  few  choice  municipal  goats  for  private  and  public 
abuse,  ridicule  and  opprobrium. 

"He's  as  bad  as "  or  "He's  as  wild  as "  or 


'He's  as  upstage  as "  are  stock  expressions,  and  one 


or  more  of  them  is  sure  to  be  heard  in  any  kind  of 
conversation. 

The  names  following  that  second  "as"  are  almost  al- 
ways the  same.  Hollywood  has  a  few  standard  similes, 
and  adheres  to  them  rigorously. 

All  of  which  means  that  a  select  few  are  made  the 
standards  for  this  or  that  vice,  weakness,  peculiarity,  or 
mode  of  conduct,  for  all  Hollywood.  Often  victims  do 
not  deserve  it.  More  often  they  are  not  nearly  so  de- 
serving as  others,  who,  in  some  miraculous  fashion,  have 
managed  to  escape  being  pigeonholed  by  the  sheeplike 
residents  of  that  California  village  devoted  to  the  manu- 
facture of  film  and  gossip.  Perhaps  the  order  of  the 
words  "film"  and  "gossip"  should  be  reversed  to  denote 
their  relative  importance. 

Let's  cite  a  few  examples. 

There  is  Jetta  Goudal,  for  instance.  She  is  the  popu- 
lar current  standard  for  temperament  in  the  film  colony. 
Now  I  don't  know  la  Goudal.  I  doubt  whether  most 
of  the  people  who  go  about  proclaiming  eccentricities  of 
her  temperament  do  know  her.  Make  no  mistake  about 
this.  I'm  not  maintaining  that  she  is  a  placid  soul,  for 
I  have  it  on  fair  authority  that  she  is  inclined  to  fizz  up 
and  run  over  the  top  of  the  glass  under  provocation. 
What  I'm  maintaining  is  that  Miss  Goudal  is  not  the 
only  person  in  the  business  of  making  faces  for  a  living 
who  is  inclined  to  be,  let  us 
say,  explosive. 

In  fact,  she  is  the  one  star 
who  can  more  or  less  ad- 
vance documentary  justifica- 
tion of  her  conduct.  When 
Miss  Goudal's  contract  was 
torn  to  shreds  by  Cecil  De- 
Mille,  who  is  probably  not 
the  calmest  man  in  the  world 
himself,  because  of  her  al- 
leged intractability,  she  took 
the  matter  to  the  courts  and 
won. 

This  is  concrete  vindica- 
tion  of   her   conduct,   which 


can't  be  matched  by  any  of  Miss  Goudal's  rival  Roman 
candles.  Moreover,  she  was  recently  signed  by  Metro- 
Goldwyn,  which  at  least  indicates  that  that  studio  doesn't 
believe  she's  too  touchy. 

Yet  despite  all  this,  and  despite  the  fact  that  almost 
every  studio  has  one  or  more  beauties  marked  "high  ex- 
plosive," one  hears  constantly  in  Hollywood  the  phrase 
"as  temperamental  as  Jetta  Goudal." 

She's  one  Hollywood  goat. 

Then  there's  Marshall  Neilan.  He  is  the  official  bad 
boy  of  Hollywood,  according  to  legend,  song,  and  story. 
Now  let's  all  draw  up  our  chairs.  Just  what  did 
"Mickey"  do  to  you,  or  you,  or  you?  (Business  of 
pointing.)  That  is,  aside  from  going  to  a  lot  of  parties, 
and  wise-cracking  people  who  probably  didn't  like  it. 

Rumor  has  it  that  some  years  ago  he  engaged  in  fisti- 
cuffs with  Norman  Kerry.  What  of  it?  If  Mickey 
wanted  to  fight  a  bloke  a  foot  taller  than  he,  it  at  least 
shows  an  indomitable  spirit.  Besides,  there  have  been 
some  bouts  between  Hollywood  celebrities  since,  that 
have  not  become  history. 

Then,  Mickey  was  mentioned  by  Jim  Tully  in  a  di- 
vorce wrangle.  And  what  of  that?  A  man  is  still  a 
stranger  in  Hollywood  until  he's  mentioned  in  one  di- 
vorce suit.  Moreover,  at  this  writing,  the  Tullys  seem 
to  be  embroiled  in  another  divorce  tangle  in  which 
Neilan's  name  is  missing.  And  Jim  has  never  liked 
Neilan,  so  maybe  there  wasn't  much  to  it. 

Then  there's  a  Hollywood  star,  a  handsome  leading 
man  and  quite  well  known,  who  is  made  the  official  goat 
of  all  the  intemperance  rumors.  Ever  since  I've  been 
in  Hollywood,  I've  heard  epic  tales  of  this  man's  in- 
ebriety. They  have  begun  to  rival  the  lumberjack  stories 
of  Paul  Bunyan. 

To  hear  the  Hollywooders  tell  it,  this  gent  bathes  in 

gin,    wallows    in   hogs- 
One  actor  is  unanimously  made   the  official  goat  of  all 
intemperance  rumors. 


heads    of    Scotch    and 
rye,  and  breathes  alco- 


hol fumes  instead  of 
air.  His  capacity,  they 
say,  is  superhuman.  He 
drinks  five  or  six  bot- 
tles a  day  when  he  is 
comparatively  on  the 
water  wagon.  He  hasn't 
drawn  a  sober  breath 
in  twenty  years.  Some 
one  told  me,  in  all  seri- 
ousness, that  he  drinks 
a  pint  of  cognac  every 
morning  before  rising. 


Hollywood  Rides   its  Goats 


Gossip  points  wild-eyed  to  Mickey  Neilan  as 

the  bad  boy  of  Hollywood,  although  he  had 

but   one   little   scrap   years   ago. 


I  raise  an  incredulous  eyebrow. 
How  has  this  Gargantuan  toper 
staved  off  the  galloping  d.  I 
these  years?  Maybe  he  does  drink 
a  barrel  of  absinth  every  day.  He 
works,  year  after  year,  turning  lip 
in  the  morning  looking  health}  and 
fit.  and  going  through  his  histrionic 
tasks  until  dusk.  He  manages  to 
appear  in  a  good  many  pictures  dur- 
ing the  year.  too. 

No  one  could  possibly  drink  as 
much  as  this  handsome  and  popular 
pent  is  supposed  to.  But  assuming 
that  he  is  such  a  prodigious  soak — 
almost  as  prodigious  a>  every  one 
in  Hollywood  would  have  you  be- 
lieve— there  are  others,  as  renowned 
upon  the  screen  as  he.     1  know  some 

of  them.  I'll  match  them  against  him  for  a  day-in  and 
day-out  guzzling  combat,  and  I'll  bet  money,  marbles,  or 
chalk  on  the  outcome. 

Then  there's  another  and  quite  recent  goat  elected 
for  a  niche  oi  his  own  by  Hollywood.  It  is  John  Gilbert. 
One  can't  pick  up  a  newspaper  or  magazine  nowadays, 
without  discovering  a  long  and  profound  article  setting 
forth  the  fact  that  Gilbert  is  '"all  through"  on  the  screen. 
The  talkies  have  ruined  him.  He  won't  listen  to  reason. 
His  voice  is  terrible.  He  can't  act  any  more.  They  can't 
find  stories  for  him.     Too  bad.     Too  bad. 

I'd  like  to  be  as  '"all  through"  as  Jack  Gilbert  is.  Just 
that  and  no  more.  Is  Gilbert  the  only  star  in  Hollywood 
with  a  voice  not  adaptable  to  talking  pictures?  Is  he 
the  only  star  who  hasn't  made  a  good  picture  recently? 
Pardon  me.  while  I  laugh. 

This  barrage  on  Gilbert  is  due  to  the  fact  that  he  is 
an  outspoken  gent,  I  believe.  Those  to  whom  he  may 
have  told  the  truth,  instead  of  some  gilded  substitute  for 
it,  or  those  before  whom  he  refused  to  bow  and  posture 
to  their  liking,  are  delighted  at  the  opportunity  to  cast 
the  first  stone,  also  the  second,  third,  fourth,  fifth,  and 
sixth. 

And  here's  another  goat.  It  is  Richard  Barthelmess. 
Some  time  ago  Barthelmess  made  a  picture  called 
"Weary  River."  Inasmuch  as  Barthelmess  can  neither 
sing  nor  play  the  piano,  and  his  role  required  him  to  do 


Temperament  is  supposed  to  have  crystallized  in  Jetta  Goudal,  but 
she  has  a  court  decision  to  the  contrary. 


both,  some  one  was  eng 
to  double  in  these  specialties 

for  him, 

I  In-  squawks  about  it  are 
still  i- i 1 1 1^ i 1 1 14  'round  the  movie 
world. 

Shame  on  him!     Fooling 

the  public  and  the  press  like 
that.     Why,  Duk! 

And    \vli\    diil    all    the   crit- 

icism  for  tins  little  nick  hap- 
pen to  focus  on  Barthelm 

You'll  have  to  tell  me.  be- 
cause 1  don't  know.  I  have 
no  statistics  before  me.  but 
I'd  like  to  tell  you  j  1 1  - 1  how 
many  stars  have  employed 
voice  doubles  since  the  talk- 
ies descended  upon  us.  What- 
ever the  exact  figures  may  be,  there  are  plenty.  Vet 
Barthelmess  gets  all  the  criticism  right  in  his  jugular 
vein,  and  the  deception  of  others  who  had — and  have — 
doubles  for  singing,  playing,  talking,  and  dancing  isn't 
even  mentioned. 

As  far  as  that  goes,  I've  seen  some  talkies  in  which 
the  stars  did  not  employ  a  double  for  the  theme  songs. 
They  should  have,  in  most  cases.  There  is  such  a  thing 
as  carrying  sincerity  too  far. 

And  here's  another  goat.  True,  she  is  sort  of  out-of- 
bounds  now,  but  for  years  it  was  a  standard  quip  to  refer 
to  Patsy  Ruth  Miller's  penchant  for  being  engaged  to 
this  Romeo  or  that.  She's  the  happy  wife  of  Tay  Gar- 
nett,  the  director,  now,  so  that  is  over. 

I  once  heard  George  Jessel  make  a  humorous  speech 
at  a  Hollywood  banquet,  in  which  he  discussed  his  trip 
to  the  West,  and  said  that  the  railroad  had  offered  him 
an  excursion  rate,  including  a  "trip  to  the  Grand  Canyon 
and  an  engagement  to  Patsy  Ruth  Miller."  It  was  all 
very  funny.  Everybody  laughed  and  repeated  it.  Patsy 
was  supposed  to  be  the  most  engaged  girl  in  Hollywood, 
which  she  was  not,  by  several  rings. 

Now  that  it's  all  over,  just  who  was  she  ever  actually 
engaged  to,  anyway?  Can  you  remember?  Oh,  yes, 
Donald  Ogden  Stewart.  But  wasn't  that  just  one  of 
those  newspaper  reports  that  surprised  both  parties  when 
they  read  it  in  the  morning  papers? 

Then  there  is  Conrad  NageL  The  Holly- 
wood boulevardiers  have  made  a  curious  sort 
of  goat  out  of  him.  He's  the  good  boy  of  Hol- 
lywood and,  from  some  of  the  chatter,  you'd 
think  there  was  something  reprehensible  in  it. 
He  doesn't  drink,  smoke,  swear,  or  change 
wives.  I  guess  all  these  dire  reports  about  him 
are  true.  Once  more,  I  ask  you,  what  of  it? 
I  know  of  a  number  of  male  stars,  and  even 
some  female  ones,  who  don't  raise  the  roof  and 
j,ret  pie-eyed  in  public  and  divorce  their  mates. 
No  one  kids  about  them.  Instead,  their  re- 
spectable conduct  seems  to  win  praise  on  all 
sides. 

Then  there  is  the  matter  of  Hollywood's 
marriage  goat  I    I   mention   the  name  of 

Charlie    Chaplin?       You'd     think,     to    hear    it 
bruited   about,   that   the   little   comedian 
married    on    the    first    and    fifteenth    of    every 
month,    always    under    Strange    and    surprising 
circum 

lie's  been  married  twice,  in  all  his  forty-odd 
.  which  is  veritably  old-fashioned  in  Hol- 
lywood.    First  he  married   Mildred  Harris,  the 
•   1    time    I.ita   Grey.      Mildred    Harris  has 
tinued  on  pag<    100 


46 


More  gruesome  shivers  will  be  added  to  the  talkie  version 
Unholy  Three"  through  the  speech  of  Ivan  Linow,  Harry 
the  midget,  and  Lon  Chaney. 

THIS  is  my  last  interview!"  Across  the  office,  the 
whole  square  bulk  of  him  adamant,  Lon  Chaney 
glowered  and  snapped  the  words  at  me. 

As  he  speaks  from  the  screen,  Chaney  becomes  silent 
regarding  publicity.     Or  such,  he  asserts,  is  his  intention. 

Commencing  to  evolve  voices  for  his  thousand  faces, 
he  draws  the  curtain  between  himself  and  the  public. 
In  the  future,  if  he  maintains  his  new  rule,  there  will 
be  no  Chaney  articles  or  publicity  photographs.  Of 
course,  before  we  become  worried  about  that  dire  pros- 
pect, remember  that  he  is  a  master  showman  whose  dis- 
inclination to  give  interviews  in  the  past  has  whetted 
curiosity  and  augmented  his  attraction,  spreading  a  mys- 
tery more  intriguing  than  had  he  been  loquacious. 

"I  have  attained  a  position  where  I  don't  have  to 
double  cross  my  convictions.  I  have  signed  a  five-year 
contract  on  my  own  terms.  On  its  completion,  I  will 
have  reached  my  financial  goal  and  will  quit.  I  have 
worked  hard  all  my  life,  the  past  eighteen  years  in  pic- 
tures, and  will  be  entitled,  then,  to  retire. 

'"1  have  made  two  personal  appearances.  Once,  with 
'The  Hunchback  of  Notre  Dame,'  because  I  didn't  know 
any  better.  The  second  time,  with  'Tell  It  to  the  Ma- 
rines,' as  a  courtesy  to  General  Butler  and  the  govern- 


The  Last  of 

Lon's  final  interview,  rather,  for  hereafter 
audible   screen.     His   belief   still   is   that 

is  his  stock 

B?  Myrtle 

ment  for  cooperation  given  us  while  making 
the  picture.     But  never  again." 

An  article  appeared  recently  purporting  to 
relate  comments  made  from  a  sick  bed.  He 
says  that  he  never  was  interviewed  while  in 
the  hospital,  or  during  his  illness. 

"Bickford's  line  is,  'Quit,  but  don't  let  'em 
let  you,'  "  I  murmured,  my  eyes  sparring  his, 
deep-set  in  a  rugged  face.  "Chaney's  is, 
'Don't  give  'em  an  interview,  but  don't  let 
'em  get  away  without  it.'  " 

"Yeah?  Well,  I  mean  it.  I  should  never 
have  opened  my  mouth.  My  judgment  was 
correct.  It  proved  to  be  bad  business.  It 
dispelled  the  mystery  attached  to  my  type  of 
characters.  I  was  misquoted.  The  reaction 
was  noticeable  in  fan  mail  and  among  my 
friends,  few  of  whom  are  professionals.  All 
expressed  surprise  when  they  read  the  things 
I  was  supposed  to  have  said.  Remarks  at- 
tributed to  me  did  not  conform  to  my  screen 
work,  nor  did  they  seem  consistent  to  those 
who  know  me. 

"I  stopped  talking,  except  in  noncommittal 
fashion.  I  said  'Yes,'  'No,'  and  'Uh-huh,' 
and  let  it  go  at  that.  But  reporters  are  in- 
genious. They  managed  to  distort  even  my 
monosyllabic  comments." 

"As  this  is  your  last  speech,  Mr.  Chaney, 
perhaps  I  had  better  fade  out  and  send  a 
man  to  interview  you?"  I  was  getting  a  bit 
testy  myself. 

"Why?  Women  are  more  fertile  in  imagi- 
nation, but  the  men  reporters  are  as  big  liars, 
though  with  less  finesse.  Women  have  a  gift 
for  making  the  unreal  seem  true,  by  weaving 
into  their  stories  an  artistic  detail,  whereas  men,  if  more 
blunt,  are  just  as  willing  to  misquote  in  order  to  make 
a  sensational  story." 

"I  happen  to  have  one  of  those  dictograph  minds,"  I 
remarked  tersely.  "I  quote  you  verbatim.  There  are 
stories  in  you,  stories  that  have  chiseled  those  lines  in 
your  face,  stories  that  wait,  back  of  your  eyes.  I  want 
them.  Verbal  fencing  is  entertaining,  but  it's  circuitous." 
Feeling  quite  washed  up  and  futile,  I  waited.  Sud- 
denly he  became  earnest,  talkative.  For  about  an  hour 
he  talked,  answering  concisely  the  questions  asked  him, 
denoting  that  he  had  definite  opinions  on  many  subjects. 
Some  he  expanded  with  detailed  explanation  of  his  views 
or  experiences,  italicizing  them  with  a  few  graphic 
gestures. 

His  illness  of  a  few  months  ago  was  tonsilitis  and 
throat  trouble,  though  the  Hollywood  wits  dubbed  it 
lockjaw.  Chaplin,  Garbo,  and  Chaney,  it  seemed, 
wouldn't  talk  for  the  screen.  Chaplin  alone  remains 
adamant.  Dame  Rumor,  who  usually  .is  up  on  her  dia- 
logue, whispers  that  Chaney's  indecision,  happening  as  it 
did  on  the  verge  of  signing  a  new  contract,  was  a  factor 
in  persuading  Metro-Goldwyn  to  augment  the  ante.  His 
new  paper  calls  for  a  million  dollars  over  the  first  three 


of  "The 
Earles, 


17 


Mr.  Chaney 

his  speech  will  be  recorded  only  by  the 
either  medium  dispels  the  mystery  that 
in  Tade. 

Gebhart 


d  two  more  annuals  at  even  greater 
remuneration. 

That  little  matter  being  settled,  he  uses,  in 

''The  Unholy  Three,"  his  initial  talkie,  five 

separate  voices,  each  of  which  he  will  dupli- 

in  a   Spanish  version.     He  must   be  a 

gymnast    to    speak    and    sing    "Sweel 

e  O'Grady"  as  a  dummy,  and  to  imitate 

voice  of  an  old  woman,  owner  of  a  pet 

Furthermore,  he  must  make  parrots 

k   through   his    own    oral    trickery.      The 

utly    that    there    will    be    no 

"duping." 

The  circu-  side-show  story  concerns  a  ven- 
triloquist, a  giant  and  a  midget   joined   in  a 
crime    plot.      Ivan    Linow    plays    the 
which   Victor   McLaglen   origi- 
nated   in   the    silent    version.      Harry    Earles 
the  midget    Elliott  Nugent  has  Matt 
S  role,  and  Lila  Lee  the  feminine  lead 
portrayed     by      Mae      Busch.        Several      of 
Giai:<  lits  will  b«  remade  in  talkies. 

ite  the   fact  that  he  had   not  spoken. 
Oianey  was  voted  first  place  favorite 
by  a  can  ners.     I Ii> 

oral  debut  will  be  an  event  on  a  par 
with  Garbo's,  in  "Anna  Christie." 
Chaney  is  a  pepper-and-salt  pen 
hard-grained,  rectangular,  sturdy,  and 
square  jawed.  h<  gran- 

ite, slow,  deliberate.    He  has  felt  the 
pulse  of  the  average  man.  and  know-. 
' .rilled  reaction  to  carefully  con- 

Lon  and  Harry 
Earles  are  still 
remembered 
from  the  silent 
production  o  f 
"The  Unholy 
Three." 


y 


I    ^ 


Lila   Lee   encounters   Lon   as   a   side-show   man   whose   speech 
and  song  through  a  dummy  requires  more  than  a  little  vocal 

gymnastics. 

nived  terror,  lie  talks  decisively,  hi-  correct 
grammar  at  variance  with  the  slang  and  gangster 
dialect  with  which  lie  was  quoted  in  a  recent  inter- 
view which  he  denies  having  granted. 

IK  walks  quickly,  purposefully,  as  he  thinks 
an  honest  man  who  know-  what  business  he  i- 
about  should.  He  likes  people  to  talk  directly 
and  definitely.  His  spatulate  hands  are  those  of 
a  worker.  They  are  stubborn  hands.  Hi-  is  a 
deep  voice,  with  a  <|in'et  ring  to  it.  Will  lie  be- 
come a  vocal  contortionist,  able  to  change  ii  as 
arises? 

"Disillusionment  was  inevitable,  once  the  screen 
sound."  He  dislikes  the  articulate  screen. 
"The  talkies  are  making  pictures  more  realistic, 
shattering  that  optical  vacuity,  that  romantic 
make-believe  which  camera  magic  ha-  made 
sible  to  a  degree  far  beyond  the  stage's  possibili- 
ties. In  some  respects,  I  welcome  sound.  It  adds 
depth  and  actuality  to  situations  and  to  individual 
performance-. 

"For  myself.  I  regret  it.  My  odd  character-. 
though  founded  on  life,  have  been  made  imagina- 
tive for  emphasis.  That  realism  which  i-  in  the 
human  voice  will  dispel  the  mystery  instantly,  I 
am  afraid. 

"'Make  up  the  voi  Now,  I  must 

use  less  physical  make-up,  if  allowance  i-  t<i  be 
made  for  vocal  effects.  It  will  mean  a  shifting 
of  the  burden,  a  sharing  of  it,  in  creating  a  char- 

rization.     I  must  express  vocally  some  ol 
trait-  and  idiosyncrasies  of  the  person.    But  there 
isn't  a  lot  one  can  do  with  the  voii 

He  professes  to  have  no  special  picture  pi 


48 


The  Last  of  Mr.  Chane^ 


Lila   Lee  and   Elliott   Nugent  meet  in  the   bird  store   where  much 
of   the   plot   is   unraveled  in   "The   Unholy   Three." 


"I've  never  read  but  two  scripts  previous  to  the  start 
of  production.  If  the  company  gives  me  bad  pictures, 
it  costs  them  money." 

His  success  has  been  due  to  no  superior  talent,  he  in- 
sists, but  to  getting  the  breaks,  and  to  industrious  appli- 
cation. 

He  has  maintained  fame  in  direct  defiance  of  many 
Hollywood  by-laws.  In  no  respect  does  he  make  the 
stellar  gesture.  The  human,  genuine  things  of  life  oc- 
cupy in  his  scheme  a  place  higher  than  career's  demands ; 
by  bis  ignorance  of  many  superficial  trimmings  which 
others  deem  essential,  he  relegates  them  to  their  proper 
unimportance. 

I  [e  arrests  the  attention,  but  is  not  good  looking.  His 
forehead  is  high,  and  extends  a  bit ;  his  face  is  deeply 
lined  ;  he  has  a  small  bald  spot,  of  which  he  seems  totally 
unconscious.  His  clothes  are  well  tailored,  but  incon- 
spicuous. He  wears  a  cap  and,  on  the  street,  dark 
glasses.  Ili^  general  appearance  is  that  of  a  successful 
workman  dressed  in  his  serviceable  best. 

Social  life,  as  set  on  the  Hollywood  stage,  does  not 
attract  him.  His  friends  are  practically  all  nonprofes- 
sionals. "Workers,  people  who  follow  various  callings. 
White-collar  folks,  mostly,"  he  says.  One  never  sees 
him  at  premieres,  though  he  follows  the  movies  via  the 
neighborhood  theaters. 

lie  has  never  sent  out  a  photo  or  answered  a  fan  let- 
ter, except  to  convicts,  in  whose  misshapen  lives  he  takes 
a  sympathetic  interest,  being  always  for  the  under  dog, 


the  fellow  who  has  had  a  raw  deal  or  who, 
through  weakness  rather  than  malice,  makes 
a  mess  of  things.  His  mail  is  opened,  that 
quarters  may  be  returned ;  and  he  reads  some 
of  the  most  interesting  comments. 

"I  don't  consider  fan  mail  representative 
of  public  opinion.  Only  certain  classes,  types, 
and  ages  write  an  actor,  as  a  rule.  Many  of 
the  older,  mature  people  don't,  yet  they  are 
regular  patrons.  The  box  office  is  the  only 
real  guide;  it  is  the  public's  spokesman.  I 
follow  exhibitors'  reports  in  the  trade  maga- 
zines." 

This  need  not  be*  construed  as  lack  of  ap- 
preciation. Life's  hard  knocks  have  taught 
him  the  rarity  and  value  of  any  sincere  re- 
gard. But  an  actor's  mail  does  not  seem  to 
him  a  true  barometer  of  public  taste.  His 
fans,  however,  are  loyal,  despite  his  apparent 
indifference.  For  five  years,  each  Christmas 
and  birthday  has  brought  a  box  of  stationery 
with  his  name  engraved  on  it,  from  Chicago. 
He  does  not  know  the  donor's  name,  but 
imagines  that  it  may  be  from  one  of  the  boys 
who  did  a  term  "in  stir,"  and  now  is  follow- 
ing an  honest  trade.  Anyway,  he  uses  the 
stationery,  and  is  intrigued  by  the  mystery. 

His  tastes  are  those  of  the  normal,  aver- 
age fellow  who  jogs  along  life's  ordered  lanes. 
He  likes  prize  rights,  motoring — he  has  three 
cars — and  fishing.  Thrifty  by  nature,  made 
doubly  so  by  hardship,  he  strikes  bargains  and 
invests  his  money  carefully.  His  initial  pic- 
ture salary  was  thirty  a  week.  When  he  got 
a  raise  to  forty,  he  began  to  save. 

In  reading,  he  has  no  special  preferences, 
except  adventure  stories ;  "Arabian  Nights" 
is  a  favorite.  Despite  his  lack  of  intellectual 
pretensions,  he  was  asked  by  the  editors  of 
the  Encyclopedia  Britannica  to  write  an 
article  on  make-up,  and  felt  highly  honored. 
Would  he  write  his  memoirs?  It  is  the 
fashion.  Surely  behind  that  criss-crossed 
forehead  there  lurk  stories  of   strange  experiences. 

"Not  by  a  jugful.  My  personal  life  is  nobody's  busi- 
ness. Besides,  I  lack  the  patience  to  write.  I  can't  get 
thoughts  into  words.  I  can  sit  for  hours  experimenting 
with  make-up,  or  'thinking'  my  work;  but  I  can  express 
my  thoughts  fluently  only  in  terms  of  facial  expression. 
And  I'll  fix  it  so  that  nobody  will  write  my  biography 
after  I'm  gone,  too." 

Did  he  contemplate  a  return  to  the  stage,  with  retire- 
ment from  pictures? 

"Nope.  I'll  be  through  with  acting.  I  want  to  travel. 
No  particular  countries,  just  the  wanderlust.  Not,"  he 
refuted  a  suggestion,  "to  look  for  odd  characters.  I'm 
interested  more  in  places  than  in  people,  now.  Human 
nature  is  the  same  the  world  over,  with  slight  variations." 
Knowing  his  Izaak  Walton  proclivities,  I  had  imagined 
him  immersed  in  thought  of  his  next  role,  while  waiting 
for  the  fish  to  bite,  planning  in  advance  detail  each  char- 
acterization. 

"I  should  say  not!"  His  laugh  was  hearty,  softening 
the  stern  contours  of  his  face.  "When  I  go  on  a  holiday, 
I  forget  work  completely." 

Asserting  that  he  has  given  to  allied  phases  of  his 
work  an  energy  not  appreciated,  that  drained  himself,  he 
insists  that  he  is  through  with  trying  to  save  the  pro- 
ducers money  by  shoving  props  around  between  scenes, 
through  with  every  consideration  except  improving  his 
own  contribution. 

Continued  on  page  112 


Neptune  Calls  Them 

What.   then,   is   a   girl   to  do   except   to   wear   the   latest 
thing    in    swimming    suits    to    greet    the    old    master    of 

the  waves? 


49 


Gwen  Lee,  center,  is  all  ut  in 

red,  white,  and  blue,  a  flying  fish  dis- 
porting on   the   thigh   of   her   shorts. 


Love,  left,  is 
in  her  cell  ike 
one-piece  jersey  and 
modernistic  in  t  li  e 
choice  of  its  design, 
the  colors  being  white 
on  powder  blue. 


Dorothy  Joxdan, 
not  averse 
to  giving  loungers 
on  the  beach  a 
glimpse  of  the 
charm-  she  reveals 
tone's  em- 
brace. H<r  <uit  is 
oi  bright  red  and 
white,  an- 

/<  .  her 
height    being    five 
:wo. 


50 


Photo  by  Mitchell 

Betty  Compton  went  West  to  make  pictures,  but  de- 
cided that  one  short  was  enough  for  the  present. 


<xtander 


Lilyan  Tashman  made 

a  hurried  trip  to  New 

York  to  show  Edmund 

Lowe   the   sights. 


IF  you've  seen  Fanny  the  Fan  swaggering  about 
and  looking  very  supercilious  lately,  don't  be 
worried.  The  grand  manner  will  pass  away  in  time. 
And  you  really  can't  blame  the  girl  for  growing  a  little 
self-important.  After  being  wrong  most  of  her  life — 
or  in  the  mistaken  minority,  if  you  prefer — she  has  sud- 
denly discovered  that  once  she  was  right!  Of  course,  it 
was  a  long  time  ago  that  she  made  a  sweeping  prediction 
— so  long  ago  that  probably  every  one  but  herself  has 
forgotten  it. 

It  was  at  least  a  year  and  a  half  ago  that  Fanny  saw  a 
film  test  of  Barbara  Stanwyck,  and  promptly  wanted  to 
go  out  and  raise  flags.  To  hear  her  tell  it,  most  of  the 
other  girls  on  the  screen  would  be  sent  into  retirement  or 
vaudeville — which  is  almost  the  same  thing — once  Stan- 
wyck showed  them  up.  She  would  have  had  us  believe 
that  Stanwyck  combined  all  the  best  features  of  Davey 
Lee,  Marie  Dressier.  Joan  Crawford,  and  your  favorite 
blues  singer.  When  "The  Locked  Door"  was  shown, 
Fanny  was  strangely  silent.  When  "Mexicali  Rose"  ap- 
peared she  had  the  manner  of  a  mystic  whose  reverie  must 
not  be  broken.     But  now  that   "Ladies  of   Leisure"  has 


shown  what  Stanwyck  really  can  do,  Fanny  is  running 
around  and  saying  "I  told  you  so,"  quite  as  if  the  preced- 
ing pictures  hadn't  given  her  moments  of  doubt. 

As  I  waited  impatiently  for  Fanny,  tapping  my  plebeian 
heels  on  the  priceless  Hotel  Warwick  rug,  I  wondered  if 
she  had  trailed  the  picture  to  one  of  the  outlying  suburbs 
to  see  it  again.     But  no,  eventually  she  showed  up. 

"I  didn't  see  you  here  when  I  came  in,"  she  announced 
in  a  somewhat  dubious,  forgiving  tone,  as  if  she  ex- 
pected me  to  hurl  "liar"  at  her,  "so  I  went  upstairs  to  see 
some  friends.  And  what  an  uproar  is  going  on  through- 
out the  hotel ! 

"It's  a  great  tribute  to  Marion  Davies,"  she  went  on, 
by  way  of  explanation,  "and  they're  saying  it  with  vacuum 
cleaners  and  scrubbing  brushes. 

"You  know  Marion  maintains  a  permanent  home  here, 
and  I  believe  she  owns  stock  in  the  hotel.  Anyway,  the 
mere  fact  that  she  stays  here  when  she  is  in  New  York 
gives  them  a  prestige  that  they  would  die  for.     And  as 

Marion  is  one  of  those  girls  who 
can  detect  a  finger  print  or  a 
speck  of  dust  at  fifty  paces,  the 
management  always  makes  a  spe- 
cial effort  to  have  the  entire  hotel 
dressed  up  like  a  little  girl  going 
to  a  party  when  she  is  here. 

"Well,  Marion  walked  in  un- 
announced this  morning,  and  as 
she  hurried  through  the  lobby  she 
squinted  slightly,  which  was  only 
natural  coming  in  as  she  did 
from  the  summer  sunlight.  It 
threw  the  staff  into  confusion. 
The  impression  got  abroad  that 
there  must  be  a  wilted  leaf  in 
one  of  the  vases,  or  maybe  some 
one  had  shed  an  eyelash  unno- 
ticed on  a  settee,  or  perhaps  one 
of  the  goldfish  in  the  restaurant 
pool  had  become  a  bit  tarnished. 
Instantly,  a  platoon  of  workers 
was  mobilized,  scouting  parties 
were  sent  to  each  and  every  cor- 
ner of  the  hotel,  and  now  a  sun- 
beam couldn't  possibly  find  a 
speck  of  dust  to  dance  around." 
And  as  if  to  defy  the  shining 
spic-and-spanness  of  the  estab- 
lishment, at  that  moment  in 
walked  Nancy  Carroll.  Maybe 
slovenly  is  too  strong  a  word  to 
use  in  describing  her ;  let's  let  it 
go  as  unkempt. 

"She  was  shipwrecked  off  the 


coast  of  Massachusetts,"  Fanny 
offered  lamelr  in  extenuation. 
"It  was  a  ghastly  experience 
waiting  for  a  boat  to  come  along 
and  rescue  her.  She  was  on  a 
small  yacht  with  some  friends 
and  they  ran  into  bad  weather." 


51 


vaa/ps 


Fanny  the  Fan  urges  her 
friends  to  buy  a  book,  and 
points  out  that  she  was  once 
right  in  a  prediction,  even  if 
a  bit  premature. 


"But  that  was  several  days  ago,"  1  re- 
minded her.  '"Ami  there's  no  law  against 
eating  np  in  her  room,  if  she's  too  exhausted 
to  comb  her  hair." 

"Hut  when  it's  growing,  it's  SO  hard  to 
manage,"  Fanny  insisted. 

I  stared  at  her  in  amazement.  There  is 
always  a  reason  for  these  Pollyanna  attacks 
of  hers. 

"Well,  it  you  must  know.  I'm  afraid. 
Maybe  it's  the  underworld  movies  that  have 
:iv  nerves  jittering.  Maybe  it's  the  mys- 
tery plays.  Anyway.  I've  been  threatened. 
and  from  now  on  I  am  to  he  a  model  of 
vacuity,  sweetness,  and  silence.  And  just  to 
be  on  the  safe  side.  I'll  always  sit  with  my 
hack  to  the  wall  and  face  the  door. 

"Once  in  an  idle  moment,  I  remarked  that 
Janet  Gaynor's  mugging  when  she  sang  an- 
noyed  me.      The   postman    staggered    under 
the  vitriolic  letters   that   I   got    from  her   de- 
'.    fans.      It   never  occurred   to  them   that 
I  criticized  her  in  the  nagging  manner  of  an 
older  sister  who  hated  to  have  the  little  one 
appear    at    less    than     her    1 
Then   I   inferred  that   I   wouldn't 
break    any    windows    striving    to 
a  look  at  Buddy  Rogers  or 
Rudy  Vallee  in  person,  and  their 
public  snooted  that  Paris  green 
for  me.     But  when 
I  ventured  t  jest  that  Clara 

r>"V.  nal    appearance    was 

no  advertisement  for  soap,  all 
Brooklyn  set  out  in  search  of  mc. 
From  now  on  I  look  at  the  bright 
of  everything,  or  close  my 
eye 

I  was  halfway  to  the  door  in 
search  of  more  congenial  com- 
pany when  she  called  me  hack. 

"Well,  it  7<as  prettv  funny  the 
night  I  met  Rudy  Vallee,"  she 
admitted.  "But  remember  that 
I'll  lie  a  hunted  woman  for  ad- 
mitting it.  I  was  in  a  party  with 
Richard  Wallace  and  his  wife, 
who  were  great  friends  of  Mr. 
Vallee  in  Hollywood.  Since  he 
had  last  seen  them  they  had  been 
on  a  trip  around  the  world,  scorn- 
die  traveled  roads  and  hav- 
II  9  its  ■:'  adventures  in  ob- 
scure parts  of  China  and  Egypt. 
Mr.  Vallee  came  over  to  their 
table  at  his  night  club,  and  did  he 
a~k  them  about  their  trip?  Did 
he  show  any  interest  in  their  af- 
fairs whatever?  Hardly.  He 
started  out.  T  guess  you're  think- 
ing that  I  look  pretty  tired,'  and 


Claire   Luce   is    about   to   make    her   long-threatened 
film  debut. 


with  that  introduction  he  launched  into  a  monologue 
about  the  many  demands  on  his  time,  the  songs  he  was 
plugging,  his  radio  programs,  and  eventually  wound 
ii])  with  an  impassioned  tribute  to  yeast.  And  that, 
little  kiddie>.  is  supposed  to  go  under  the  heading  of 
charm,  hut  I  am  just  so  stubborn  I  cannot  recognize  it." 
After  the  calling  I'd  given  her  a  moment  before,  I 
wouldn't  have  dared  to  mention  that,  nevertheless,  he 
w.i--  still  an  unequaled  radio  singer. 

"What's  Marion  in  Xew  York  for?"  I  a-ked.  idly 
hoping  that  the  waiter  would  note  my  offhand,  intimate 
tone  and  bring  me  the  largest  melon  in  the  place. 

"Just  a   few  days'  visit.     Stopped  by  to  see  'Tin 
Green   Pastures'  and   one  or  two  other  things   in   the 
theater.       She    was    going    to    Washington     anyway. 
Marion'^  a  smart  girl.     She  doesn't  run  an\   chan< 
being  hauled   into  court  and  accused  of  cheating  the 
government    on    her    income    tax.      She    just 
Washington,  dumps  her  account  hooks  in   the  income- 
tax  office,  and   says   in  her  artfully   artless   way,   'Help 
me   to   figure   this    out.    please.      I    just    can't    seem   to 
he  able  to  get  it  straight.' 

"I  wish  she  would  make  another  picture  right 
away.  'The  Florodora  Girl'  missed  fire  as  far 
was  concerned.  It's  the  -ort  of  thin?  that  is  just 
awfully  quaint  and  amusing  for  two  reels.  Any  of 
the  scenes  Marion  played  would  have  seemed  hilari- 
ous if  she  had  got  up  and  did  them  spontaneously 
at    a    party,    but     I'm    afraid    the    scenario    writ 

iiist    hitched  a  lot   of    Marion's 
An  unexpected  visit     amu,jI)t,  notions  together, 

let    the    Storj    go   a.    -hat. 

"1»\   the  wav .  that  CUte-look- 


caused    excitement. 


Over  the  Teacups 


Photo  by  Uiclieo 

Carol    Lombard    made    a    great    impression    in 
"Safety  in  Numbers." 

ing  brunette  over  there  is  Betty  Compton. 
There's  a  girl  with  a  mind  of  her  own.  Warner 
Brothers  sent  her  to  Hollywood  to  make  fea- 
tures and  after  one  short,  she  decided  she'd 
rather  come  back  to  New  York  and  perhaps  do 
one  of  their  shows  on  the  stage  later.  You 
see,  she  had  taken  a  lovely  house  up  in  Larch- 
mont  for  the  summer,  and  she  had  been  look- 
ing forward  to  being  there  with  her  friends, 
so  California  had  little  appeal  for  her. 

"Pauline  Garon's  roaming  around  town 
somewhere.  She  has  been  visiting  relatives  up 
in  Montreal,  but  she's  here  now.  Haven't  seen 
her,  though  we've  both  tried.  We  have  a 
knack  of  just  missing  each  other,  so  if  you 
see  her,  just  yell.  Almost  any  one  is  likely  to 
come  in  here.  They've  all  heard  that  this  is  a 
quiet  place,  where  you  don't  have  to  go  through 
the  Old-home  Week  rush  of  the  Ritz  and  other 
beaten-path  places. 

"Lilyan  Tashman  was  here,  hut  only  for  a 
few  days.  Tier  husband,  Eddie  Lowe,  hadn't 
been  to  Xew  York  in  years,  so  when  he  got  a 
few  days'  vacation,  he  persuaded  Lilyan  to 
come  along  and  show  him  the  sights.  They 
did  Harlem  night  clubs  rather  thoroughly,  T  bel 
naturally   Lilyan   didn't   ignore  the   shops.     Lil 


ieve,  but 

van   was 


w  caring  dark  glasses.  She  told  a  most  convincing 
story  about  getting  a  black  eye  banging  her  head 
against  a  trunk  lid  while  unpacking." 

As  Fanny  went  on  garrulously,  it  occurred  to  me 
that  Lilyan  would  have  enjoyed  demonstrating  to 
any  doubter  how  it  was  done.  I  hope  she  had 
the  chance. 

"Catherine  Dale  Owen  is  still  in  town,  but  has 
to  go  West  soon  to  go  back  to  work.  She  was 
coming  home  from  the  Derby  with  some  friends 
when  she  passed  a  theater  advertising  Eddie  Lowe 
and  herself  in  'Born  Reckless.'  They  went  in  to 
see  it,  and  imagine  Catherine's  embarrassment 
when  she  found  that  about  two  thirds  of  her  scenes 
had  been  cut  out. 

"Her  friends  tried  to  console  her  by  pointing 
out  that  Eddie  was  a  Fox  contract  player  and  she 
wasn't,  so  they  would  hardly  permit  her  to  have 
much  footage." 

"But  from  your  furtive  air,  I  know  you're  just 
bursting  to  tell  the  real  reason." 

"Well,  people  from  the  studio  do  say  that  she  is 
one  of  those  eyebrow  actresses.  Every  time  a 
scene  legitimately  belongs  to  another  player,  her 
eyebrows  swoop  up  and  down  and  distract  at- 
tention." 

"But  speaking  of  the  Derby — — " 
Fanny  and  I  spoke  in  chorus.  Maybe  you've 
heard  the  story,  too.  It  seems  that  Carl  Laemmle 
was  making  a  trip  East  to  the  Derby  and  a 
friend  said  he  bet  it  would  fall  down  around  his 
ears. 

Some  chronic  agitator  out  West  thinks  that  Carl 
Laemmle  ought  to  get  the  Nobel  peace  award  for 
producing  "All  Quiet  on  the  Western  Front." 
Imagine  trying  to  take  the  credit  away  from  Lewis 
Milestone  and  the  author !  Certainly  no  one  was 
surprised  when  Milestone  directed  a  masterpiece, 
but  it  seems  little  short  of  a  miracle  that  he  made 
one  while  working   for   Universal.      If   they  have 

such  exceptionally 
rare  judgment, 
what  do  they  do 
with  it  when  they 
are  making  their 
other  pictures? 

"I'd  hate  to  see  a 
picture  as  great  as 
'All  Quiet'  every 
day,"  Fanny  an- 
nounced soberly. 
"I  was  absolutely 
sunk  for  days.  I'll 
probably  never  get 
over  it.  When  I  go 
to  the  News  Reel 
Theater  and  see 
West  Point  gradu- 
ating exercises  or 
soldiers'  maneu- 
vers. I  want  to  get 
up  and  hiss." 

And  I  rather 
thought  that  the 
picture  would  make 
Fanny  want  to  go 
out  and  join  the 
army  of  women 
who  would  like  to 
adopt  Lew  Ayres. 
I'll  never  be  able  to  appreciate  any  of  those  boys  in 
another  picture.     It  will  be  like  seeing  ghosts. 


Barbara  Stanwyck  hit  her  stride  in 
"Ladies   of  Leisure." 


Over  the  Teacups 


"I   suppose  you're  still  expecting  some  player 

ge  to  become  the  second  Chatterton  of 

pictures,"  Fanny  remarked  idly.    "Well,  there  are 

two  new  candidates.     Margaret  Breen  of  musical 

comedy  is  working  «>\er  at  the  Long  Island  studio 

in  Budd}  new  picture.  She  is  a  cunning  red 

head,  born  for   Technicolor,  if  a  girl  ever  was.    And 

she  has  a  good  singing  voice.     Ami  Claire  Luce  has 

i  make  her  long-threatened  debut  in 

pictures.     Claire  has  done  everything  on  the 

from  very  light  musical  shows  to  drama  that 

eavy  it  was  practically  indigestible.     But 

she  would  make  pictures,  she  had  her  tlOSe 

made  over.     It  improved  her  profile,  hut  made  her 

the  pert  expression  that   was  her  real  charm. 

I'm  all  for  distinction  in  looks,  even  if   features 

aren't  perfect,  and  Claire  looks  like  a  lot  of  other 

girls  now. 

"I've  adopted  a  policy  of  watch  fid  waiting  toward 
-     Si    ge  players  who  threaten  to  cause  a  sensa- 
tion  on   the   screen.      I've   seen    so   many   o\    them 
come  and  go,"   Fanny  announced. 

I  didn't  want  to  interrupt  to  remind  her  of  her 
explosive  enthusiasm  over  Rose  Hobart.  Let's 
wait  until  Miss  Hobart's  first  picture  is  released 
and  then  all  chime  together  in  one  big  "huh."  But 
I'm  afraid  it  won't  he  very  effective,  because  Rose 
Hobart  threatens  to  he  very  good.  There  I  go, 
making  a  prediction.     It's  catchit 

"I've  a  lot  more  enthusiasm  for  some  of  the  girls 
who  have  been  quietly  plugging  along  in  pictures," 
Fanny  confided,  as  if  it  were  a  diplomatic  secret 
of  the  utmost  importance. 

"Marian  Nixon,  for  instance."  she  went  on.     "I 
think  she's  grand.     I  think  she's  swell.     What  am 
I  doing,  singing  a  theme  son-?     Well,  anyway,  I 
think  Marian  has  a  lot  of  talent  and  ought  to  be 
more  appreciated.     Evidently  Rich- 
ard Barthelmess  agrees  with  me.  at 
Hv'<  just  demanded  her  as 
his  leading  woman  in  'Adios.'    That 
makes  her  third   picture  with   him. 
uld  suit  me  just  as  well  if  he 
supported  her  in  one. 

"And  won't  some  one  besides  the 
Xew  York  newspaper  reviewers 
say  a  kind  word  for  Carol 
Lombard  ?  She  was  easilv  the  out- 
standing personality  of  'Safety  in 
Numbers. '  She  even  spoke  some 
awfully  blue  lines  without  being 
offensive  about  it.  Carol  has  a  lot 
of  talent.     And  do  you  hear  of  anv 

ucers  rushing  to  sign 
her  up?  I  haven't,  and  I 
hope  it  is  just  ignorance  on 
my  par 

For  once  I  was  aide  to 
put  Fanny  right,  for  only 
that  day  Paramount  wired 
Carol  to  report  in  New 
York  to  play  in  "The  Best 
'e." 
"Biflie  Dove's  gointr  to 
Europe  in  a  few 
Fanny  beamed.  "And  I 
know  what  we  can  send  her 
with   a   bon  ge.      It' 

you  wouldn't  d  :ve  many 

;>le  connected  with  the  picture  in- 
dustry.    Billie's  one  of   the   few   Hollyu  irities 
who  doesn't  appear  in  it.  so  she  will  probably  enjoy  it 


Paramount's  newest  stage  "find"  is  Margaret 
Breen. 

immensely.  It's  'Queer  People,'  by  Carroll 
and  Garrett  Graham,  and  it  is  the  most  bril- 
iant,  sardonic,  marvelous,  and  yet  maddening 
book'.  Just  as  you  whoop  with  glee  over  their 
merciless  portraits  of  Hollywoodians  in  the 
rough,  you  come  to  a  vicious  sketch  of  some 
one  you  can't  help  recognizing  as  one  of  your 
best  friends,  and  you  want  to  strangle  the 
authors. 

"You  had  better  run  to  the  near- 
bookstore  and  get  a  copy.  They 
are  going  last.  And  when  you  gel 
one.  nail  it  down,  because  I  can  tell 
from  sad  experience  that  people 
glance  at  the  book  and  then  walk 
off  with  it. 

"I    am   torn   with   indecision   over 
which  is  my  favorite  episode  in  tlu- 
book.      Can't    decide    whether    it    is 
the  banquet   to  the  son  of  a  promi- 
nent   producer,    or   the   tea    to   the 
press.     I'd  like  to  be  in  Hollywood 
when  certain  natives  read  it. 
"I    dare   say   that    the  authors 
n  now  preparing  to  leave  town 
under  cover  of  darkness.     It  i- 
bad    in    a    way,    because    they    have 
long  been  associated  with  the  pit 
hire    industry    and    they've    made    a 
lot  of  money  out  of  it." 

Will    Hay-  may  issue  a  statement  about    it.      Yo> 
rest  in  any  case  that   you   will   hear  more  of   this   bonk. 


will 
with 


Marian      Nixon 
another    picture 
ard      Barthelmess  —  at 
request. 


make 

Rich- 

his 


54 


Th 


eres 


There's    good    cause    for    the    appear 
most   of   them  are  brought   to    Holly 

foot 


Marilyn  Miller  made  stage  history  in 
"Sally"  for  several  years,  so  what 
more  natural  than  she  should  dupli- 
cate the  singing  and  dancing  role  on 
the   screen? 


Zelma  O'Neal,  below,  became  famous 
overnight  when  she  stomped  and 
kicked  through  that  energetic  dance 
known  as  the  Varsity  Drag  in  the 
musical  comedy  "Good  News,"  fol- 
lowed by  "Follow  Thru,"  in  which 
she  plays  her  original  role  in  the 
screen  version. 


George  Arliss,  above,  played 
the  R  a  j  a  h  in  "The  Green 
Goddess"  with  such  success 
on  the  stage  and  in  a  silent 
picture,  that  it  was  no  won- 
der that  he  played  it  in  the 
talkies,  too. 


)cnnis  King,  left,  was  an 
normous  hit  on  the  stage  in 
The  Vagabond  King,"  hence 
is  success  in  the  same  piece 
on   the   screen. 


R 


a  iveason 


ance    on    the    screen    of    famous    stage    players,    for 
wood  to  play  roles  they  made  their  own  behind  the 


lights 


Much   of   the    -  "Follow    Thru*'   on    the 

came  from  the  antics  of  Jack  Haley,  right, 
who  repeats  every  link-  monkeyshine  in  the  talkie 
version. 


Fred  K<.rr.  the  noted  English  actor,  below,  was 
brought  to  Hollywood  to  play  Lord  Trench  in 
"The  Lady  of   Scandal.''   which  he  originated   in 

"The    High    Road,"    the    stage    version. 


and  years  ago   Claude  Gillingwater.  center, 
made  a  hit  in  "Mile.  Modiste,"  and  is  playing  the 
identical   role    in   "Toast    of   the    Legion,"   as    it    is 
known  en  the  screen. 


J 


% 


I-     < ...■■  r        Mai  right, 

really  Anna  Christie's 
ther?  He  thinks  he  almosl 
for  he  played  Chris  in 
the  stage  original,  the  silent 
picture,  and  rcrcnll  y  in 
•    Ikie. 


56 


Wh 


en  a 


Lach? 


A    born    gambler,    Helen    Twelvetrees    has 
risked    everything    on    movies,    it 


B>>  Samuel 


lliotu  by   (I 

Helen  spent  her  last  dollar  for  a  quiet  room  in  which  to  study  for 
an  hour,  and  got  a  role  that  made  her. 

THE  roulette  wheel  in  the  casino  at  Agua  Caliente 
spun  merrily.  At  least  it  started  merrily,  then  it 
slowed  and  finally  stopped.  The  ball  rolled  onto 
the  black  and  stayed  there. 

Helen  watched  the  croupier  rake  in  a  pile  of  her  chips 
from  the  red,  smiled  that  wry  smile  of  hers,  and  mur- 
mured, "Life  is  like  that,"  as  she  turned  from  the  table. 
_  I  expostulated  with  her  over  betting  so  much  at  one 
time,  for,  despite  the  fact  that  she  is  one  of  the  rising 
figures  in  films,  her  salary  has  not  kept  pace  with  her 
position. 

"I  know,"  she  said  in  answer  to  my  protests,  "I  prob- 
ably shouldn't  have.  But  I've  never  done  the  things  I 
should.  My  whole  life  has  been  a  gamble.  Sometimes 
I  win — more  often  I  lose.  But  when  you  win,  you  get 
a  thrill  of  satisfaction  that  more  than  offsets  the  losses. 
Do  you  remember  that  line  of  Kipling's,  'If  you  can 
make  one  heap  of  all  your  winnings,  and  risk  it  on  one 
turn  of  pitch-and-toss'?  That's  me,  big  bov,  look  me 
over." 

The  slang  dropped  easily  from  her  lips,  but  it  sounded 
incongruous.  Along  with  other  things,  Helen  is  a  phi- 
losopher, and  her  philosophy  allows  no  time  for  vain 
regrets.  She  has  the  face  of  a  slightly  bewildered  angel, 
and  things  that  would  seem  quite  ordinary  and  matter 
of  fact  in  another  leave  you  gasping  and  breathless  when 
Helen  does  them. 

About  the  only  thing  Helen  won't  take  a  chance  on  is 
me.  I  was  invited  to  her  home  for  dinner  when  I  first 
came  to    Hollywood,   and    I've   been   paying   rather   vain 


and  futile  attentions  to  her  ever  since.     She's 
funny  that  way. 

"You  see,"  said  Helen,  "life  goes  on  with- 
out the  slightest  regard  for  individual  pre- 
occupations. You  may  take  what  attitude  you 
like  toward  it  or,  like  most  people,  you  may 
take  no  attitude  at  all.  It  doesn't  matter  a 
darn  to  life.  The  ostrich,  on  much  the  same 
principle,  buries  its  head  in  the  sand.  But  just 
as  forces  outside  the  sand  ultimately  get  the 
ostrich,  so  life,  all  the  time,  is  getting  you. 
I've  found  that  sometimes  you  can  gamble  with 
life,  but  that's  about  as  near  as  you  ever  come 
to  beating  it." 

"That's  quite  a  philosophy  for  such  a  pretty 
little  head  to  have  worked  out,"  I  murmured, 
inching  over  a  little  closer. 

"It  isn't  philosophy  at  all,"  she  retorted,  edg- 
ing away  a  little,  "it's  common  sense.  When  I 
was  in  school,  I  wanted  desperately  to  go  on 
the  stage.  My  family  told  me  that  if  I  did, 
they  wouldn't  give  me  a  cent — and  they  meant 
it.  I  had  no  money — just  that  insatiable  urge. 
But  I  took  a  chance,  and  presently  I  found 
myself  singing  and  dancing  in  the  chorus  of 
one  of  the  Broadway  shows." 

"Lucky  me,  lovable  you,"  I  hummed,  but  she 
paid  no  attention. 

"The  family  tracked  me  down  and  dragged 
me  back  to  school.  I  figured  I'd  broke  even  on 
that  venture.  When  I  finished  school  I  started 
back  to  the  stage  again.  This  time  I  wasn't  so  lucky. 
I  couldn't  get  work.  Then  I  met  Charles  Fletcher  Kel- 
land,  the  artist.  He  used  to  paint  covers  for  the  Sat- 
urday Evening  Post.  He  suggested  that  I  do  some 
modeling. 

"You  know  the  minute  any  one  says  modeling  you 
always  think  of  nudes  and  all  that  sort  of  thing.  I'd 
never  done  anything  like  that  and  the  idea  scared  me 
half  to  death.  But  I  hadn't  any  money  and  no  prospects 
of  any,  so  I  thought,  'Well,  other  girls  have  done  it,  and 
it  hasn't  killed  them.  I'll  take  a  chance.'  Luckily  Mr. 
Kelland  didn't  paint  nudes,  so  I  remained  pure  and 
unsullied." 

The  idea  of  the  beatific  Helen  in  any  other  guise 
w^as  rather  amusing.  I  smiled  indulgently.  At  least 
that  was  the  way  I  intended  to  smile,  but  Helen  slapped 
my  face  and  continued. 

"The  folks  didn't  like  the  idea  of  a  model  daughter. 
No,  wait  a  minute.  I  mean  a  model  for  a  daughter,  or 
a  daughter  for  a  model,  or  something  like  that.  They 
hadn't  any  too  much  money  themselves,  but  I  suppose 
my  gambling  spirit  had  had  its  effect  on  them  and  they, 
too,  decided  to  take  a  chance  on  me.  They-  enrolled  me 
in  a  New  York  dramatic  school.  It  was  a  two-year 
course.  I  went  regularly  for  a  month.  What  a  month! 
It  was  the  most  momentous  part  of  my  life." 

"Life  in  a  nutshell,  huh?"  I  suggested,  but  she  paid 
no  attention.  That's  one  of  the  troubles  with  me.  I 
go  to  see  these  girls  either  socially  or  interviewingly, 
get  them  talking  and  before  you  know  it  the  evening's 


Kolls  for  Luck 

taken  all  sorts  of  chances,  and  when  she 
was  the   luckiest  play  of  her  life. 

Richard   Mook 

gone,  ami  I  haven't  had  a  chance  to  say  a  word. 

tsionally  I  manage  a  brilliant  comment,  but 

they  don't  pay  any  heed.     Helen  at  the  moment 

50  in  the  thrall  of  her  memories,  that  she 
didn't  even  notice  a-  1  began  to  inch  over 
again. 

"When  1  had  been  in  the  school  just  a  few- 
days.  I  noticed  a  very  good-looking  chap.  Big 
and  blond.  His  name  was  Clarke  Twclvctrees. 
He  didn't  pay  innch  attention  to  me.  Then 
ifternoon  he  asked  me  to  go  out  with  him. 
And  I  went.  Next  day  he  asked  me  to  marrv 
him." 

'"He  :.7u;.'.;"  I  gasped. 

"Yes,    Marriag  ramble,  too,  you  know. 

Yon  can  be  engaged  to  a  person  for  a  year — 
five  years — and  still  not  know  them  any  better 
than  they  want  you  to — if  they're  clever.  And 
you  can  know  them  one  day  and  know  them  as 
well  as  if  you'd  known  them  for  years — if 
you're  clever.  I  thought  I  was.  I  was  tre- 
mendously attracted  to  him.  More  than  I'd 
ever  been  to  any  one  else.  I  decided  to  take 
a  chance." 

paused  a  moment,  and  that  rueful  little 
smile  brushed   her  lips.      Lucky  smile. 

"1  id  simply.     But  back  of  that 

bare  statement  lay  one  of  the  most  poignant 
ions  I've  ever  heard.  It  made  you  dn'nk 
of  the  quiet  desperation  that  must  pervade 
some  of  the  gamblers  at  Monte  Carlo  who 
watch  the  croupier  rake  in  their  last  sou.  and  know  that 
they've  got  to  face  the  future  empty  handed. 

Only  a  person  who  knows  Helen' can  know  what  that 
losing  could  mean  to  her.  It's  something  she  doesn't 
speak  of  often,  for  Helen  is  a  good  sport  and  takes  her 
-  without  whining.  Only  a  person  who  knows  her 
could  know  how  she  set  out  that  morning  for  the  city 
hall  with  shining  eyes  and  high  hopes.  And  only  a 
person  who  knows  her.  knows  how  she  and  her  new 
husband  returned  to  their  little  apartment  in  the  after- 
noon; of  how  he  produced  a  bottle  of  the  stuff  that 
makes  life  noxious  for  Mr.  Volstead  and  started  cele- 
brating: of  how.  when  that  was  gone,  he  left  her  to  get 
—left  her  on  her  wedding  day.  and  didn't  return 
until  three  days  later. 

"I  suppose  I  should  have  seen  the  writing  on  the 
wall  then,"  Helen  went  on,  "but  we  all  hate  to  admit  our 
mistakes.     And  I  loved  him." 

Helen  might  have  been  alone  with  her  dream-  for  a 
moment.     In  fact.  I  think  she  was. 

'•Well,  we  kept  poing  to  school.  Stuart  Walker  has  a 
numlier  of  stock  companies,  and  he  used  to  come  over  to 
the  school  every  once  in  a  while  for  new  talent.  One 
day  he  asked  if  I  would  like  to  go  to  Cincinnati  to  work 
for  him.  I'd  never  been  away  from  New  York.  My 
family,  my  friends  were  there.  It  was  the  only  world 
I  knew. 

ome  on.'  Mr.  Walker  urged,  'take  a  chance.'    That 

all  I  needed.     I  thought  I  Clarke  away 

from  New  York  everything  might  Ik-  all  right.     So  Mr. 


Photo 

Miss 


by   Thomas 

Twelvetrees  says  that  marriage  is  a  gamble — and  that 
she  lost. 

Walker  gave  him  a  job,  too,  and  off  we  went.  Twenty- 
five  dollars  a  week.  We  lived  across  the  river  in  Cov- 
ington, because  it  was  cheaper.  We  rehearsed  all  day, 
played  three  matinees  and  seven  nights  a  week.  Between 
times  I  did  our  cooking  and  washing. 

"Then  Clarke  got  his  notice  and  I.  being  a  dutiful 
wife  and  furious  because  they  couldn't  see  how  good  he 
was,  handed  in  my  resignation.  We  went  back  to  New 
York.     Clarke  couldn't,  or  wouldn't,  find  work. 

"One  afternoon  as  1  was  going  the  rounds,  I  ran  into 
a  boy  I  had  known  at  the  school,  lie  asked  me  to  walk 
to  a  certain  producer's  office  with  him.  /  waited  in  the 
anteroom,  while  he  went  in  to  talk  about  a  part.  He 
didn't  pet  it.  ami  we  started  down  the  long  Bight  of  stairs. 
When  we  were  nearly  to  the  bottom,  a  man  leaned  over 
the  railing  and  called  to  me.  I  looked  up  and  he  asked 
if  I  could  come  back.  I  thought  it  was  the  office  DO) 
to  tell  me  I'd  dropped  a  handkerchief  or  something.  Bui 
it  was  the  producer.     He  had  noticed  me  Bitting  there. 

"He  wanted  to  know  if  I'd  read  'An  American  Trag- 
edy.' I  lied  like  a  trouper  and  told  him  it  was  my 
favorite.  He  pave  me  the  script,  and  told  nie  to  study 
it  for  an  hour,  to  come  back  and.  if  I  could  read  it  in- 
telligently, I  could  have  the  role  of  Roberta, 

"Imagine    telling   an    inexperienced    girl    a    thing    like 
that!     One  hour  in  which  to  prepare   for  the  chano 
a  lifetime!      I   hadn't   time  to  go  home,  so   |   went  aci 
the   street    and    sat    in   the   lobby    of    a    hotel.      But    their 
much  noise  I  couldn't  concentrate.     I  had  two 
■  inui  '1  "ii  pagi    l'Kl 


58 


The  "Boy  Friend"  series  of  short  comedies  will  feature  Grady  Sutton,  left,  Dorothy   Granger,  David   Sharpe,   Gertie 

Messinger,    Mickey    Daniels,    and    Mary    Kornman. 


T   T 


14  1    T    T  .     .Y    T      .     .1 

•    #       mm       i     m     m      t    ■        «    t        •    i       *  ■  ■      m   \      •    w     ■  a  /*»•»'■*     ^ 


■  •  i 


3y  ^ 


Merry-go-rounding   about   the  movie   colony   to   capture  the  glint  and  glamour  of  its  news  and  gossip. 


JACK  GILBERT  will  have  his  day  again ! 
We  venture  this  prediction  hopefully  from  what 
we  hear  regarding  his  picture,  "Way  for  a  Sailor," 
now  being  completed. 

Jack's  voice  is  said  to  be  now  "more  appropriate  to 
his  screen  type" — whatever  that  may  signify.  Anyway, 
it  avoids  the  high-pitched  note  that  proved  disastrous  in 
"One  Glorious  Night,"  and  settles  comfortably  in  a  key 
more  deeply  sonorous. 

He  has  to  be  careful  about  one  thing.  He  daren't 
grow  excited  when  he  talks.  His  voice  has  a  tendency 
to  rise  to  a  contra-tenor  whenever  he  becomes  too  fervid. 
However,  he  prepared  for  the  new  role  in  "Way  for 
a  Sailor"  by  taking  some  lessons  from  the  studio  vocal 
coach.  Professor  Mario  P.  Marafioti,  in  both  singing 
and  diction.  We  hear  that  Jack  didn't  care  so  much 
for  the  singing,  but  applied  himself  studiously  to  the 
diction  course. 

Other  events  are  brightening  his  life.  He  and  Ina 
Claire  are  now  married  more  than  a  year,  and  are  ap- 
parently very  happy,  rumors  to  the  contrary  notwith- 
standing. 

Jim  Tully  and  he  have  patched  up  their  quarrel,  and 
Tully  is  acting  in  his  picture.  They  have  a  chance  to 
box  with  each  other,  loo.  hut  only  for  the  sake  of  the 
plot.  Besl  of  all.  Jack  gets  the  opportunity  to  knock 
Tully  out  in  this  studio  bout,  because  the  scenario  calls 
for  it !    What  could  be  sweeter? 


One  Hysterical  Evening. 

When  "Hell's  Angels"  opened  at  Grauman's  Chinese 
Theater,  the  name  of  Hollywood  was  changed  to  Hul- 
labaloo, if  not  actually  Hysteria. 

The  colony  itself,  of  course,  celebrated  with  appro- 
priate dignity  the  fact  that  they  were  seeing  the  picture 
in  their  younger  years,  rather  than  old  age,  but  the 
townspeople  turned  the  event  into  a  Roman  holiday, 
with  the  weaker  trampled  on,  women  fainting,  ambu- 
lances screaming,  riot  calls  sounding,  and  fireworks  and 
airplanes  overhead. 

Under  such  stress  as  this  most  of  the  stars  did  not 
reach  the  theater  until  nearly  ten  in  the  evening,  and 
the  picture  itself,  following  a  Grauman  prologue,  did 
not  begin  to  unspiri  on  the  screen  until  eleven.  And 
somewhere  in  the  first  bright  morning  hours  the  last 
stragglers  from  the  parties  held  afterward  finally  reach 
home,  remarking,  cloudily,  perhaps,  that  it  took  almost 
as  long  to  attend  Howard  Hughes'  film  as  it  did  to 
make  it. 

One  of  the  surprises  of  the  evening  was'the  sensation 
evoked  by  the  arrival  of  Lawrence  Tibbett,  who  was 
given  the  grand  ovation  from  the  street  throng,  with 
shouts  and  cheers  of  heaven-storming  character.  Curi- 
ously enough,  the  only  applause  that  matched  his,  even 
to  a  degree,  was  that  tendered  Gilbert  and  Miss  Claire. 
Still  another  feather  in  the  cap  of  Jack's  returning 
popularity. 


Hollywood   High   Light; 


BO 


Another  big  evening 


Only  in  Hollywood 

was  signalized  with 


the  showing 
The  Florodora  Girlj"  starring  Marion  Davies,  at  the 
opening  >>f  Pantages'  Hollywood  Theater,  a  massive  and 
golden  affair  that  lias  just  been  added  to  the  Boulevard's 
playhouses. 

Before  the  picture  was  shown,  Miss  Davies  appeared 
on  the  stage,  and  attempted  a  nervous  speech,  Eddie 
Cantor,  as  master  of  ceremonies,  came  to  her  re>oue.  and 
ted  her  with  a  gold  pass  as  a  gift  from  the  theater 
management.  He  told  her  rather  blithely  that  she  could 
all  the  rest  of  her  life,  and  also  all  the  rest  of  the 
week,  if  she  wanted  to  i\o  *o  in  order  to  see  her  picture. 

The  crowd  of  celebrities  turned  (Hit  en  masse  for  the 
affair,  and  kept  the  radio  hot  with  their  messages  to  the 
folk  listening  in.  The  most  amusing  incident  was  when 
Harry  Langdbn  drove  up  to  the  curb  in  a  taxi,  walked 
over  to  the  microphone  to  say  '*  'Lo,  everybody!"  and 
then  got  back  inl  .!>  and  drove  away. 

Ruth  Chatterton.  we  learned  afterward,  was  so  over- 
come by  the  crowds,  and  possibly  by  the  grandeur  of 
the  theater,  that  she  tainted.  This  was  partly  owing  to 
her  having  recovered  only  very  recently  from  an  attack 
of  influenza.  Considerable  trouble  was  encountered  in 
reviving  Ruth,  because  no  drinking  cups  or  glasses  were 
available  in  which  to  carry  water,  the  modern  water 
fount  having  virtually  eliminated  that  sort  of  receptacle 
in  theaters.  It  is  on  record  that  William  Haines  offered 
to  lend  his  derbv  hat  in  the  emer-iencv. 


"The  Siren  Song" 
"The  Rogue  Song," 
popular  music. 


Lon  Chancy 
have  his  five  voices,  but  he  mav 


Children  Must  Play. 

The  cut-ups  simply  thrive  everywhere  now.  Even  at 
a  staid  banquet  of  the  Academy  of  Motion  Picture  Arts 
and  Sciences,  given  in  honor  of  foreign  newspaper  rep- 
atives.  the  dignity  of  the  affair  was  all  but  de- 
stroyed when,  during  a  very  serious  speech,  somebody 
suddenly  screeched  "Ouch !"  It  was  a  girl's  voice,  and 
she  had  evidently  been  pinched  by  somebody.  We  had 
no  chance  to  find  out  the  culprit,  but  when  we  do  we'll 
report  it. 

This  Academy  meeting  was  remarkable  for  the  variety 
of  its  speeches,   given   in  seven  or  eight   different  lan- 
guages, including  Swedish.  Hungarian.  Czccho-slovakian, 
egian,  Bohemian,  and  several  dialects  new  to  any 
country. 

Various  stars  attended,  including  Conrad  Xagel.  Rod 
La  Rocque.  Anita  Page,  gay  and  girlish  and  clad  in  an 
attractive  blue  trail- 
ing lace  dress,  color-        Ingeniously,    vividly    Theodore    Kosloff    impersonates 
fully    ornamented;  Cecil  DeMille's  "Madame  Satan." 

Lottice  Howell,  new 
song  star ;  Lucille 
Powers,  a  new  pic- 
ture lead,  who  will 
be  seen  in  "Bill v.  the 
Kid."  Miss  Powers, 
lilylike  in  her  white 
dress,  was  feeling  a 
bit  triumphant,  since 
she  had  properly 
squelched  a  young 
man  whom  she  did 
not  know,  and  who 
had  tried  to  dance 
with  her.  Miss  How- 
ell exhibited  her  vo- 
cal talents  efficiently 
inging  the  "Blue 
T)anul>e"  in  German. 
She  is  a  very  charm- 
ing girl,  and  was  a 
hit  with  the  visitors. 


With  Appropriate   Hauteur. 

John  Barrymore  is  becoming  reserved  again  about 
bemg  interviewed.  It  used  to  in-  a  custom  oi  iu>  when 
he  was  on  the  stage,  but  since  In-,  entrance  into  the 
movies  he  has  reluctantly  and  with  a  certain  discrimina- 
tion succumbed  to  publicity. 

Barrymore  is  also  temperamental  in  other  ways.    It  is 

said    that    he   retired   superbly   one   day    from    the    set    of 
"Moby   Dick"  while  the  picture  was   in   the   filming. 

The  scene  had  required  him  to  be  doused  with  water 
several  times,  and  there  had  also  been  what  seemed  to 
John  several  unnecessary  retakes. 

Finally  he  disappeared,  and  when  it  came  time  for 
another  shooting,  the  director  sent  one  of  his  aids  to 
look  for  Barrymore.  "Ask  Mr.  Barrymore,"  he  in- 
structed, "how  soon  he  will  be  back  on  the  Set." 

The  assistant  found  Barrymore  in  bis  dressing  room, 
busy  disposing  of  his  dripping  cloth' 

"They  want  to  know  when  you'll  be  back  on  tlie  set, 
Mr.   Barrymore,"  he  Stated. 

"Tell  them,"  replied  John,  with  the  full  Barrymore 
grandeur,  "that  I'll  be  back — in  a  week." 

And  the  tale  goes  that  he  was  just  about  as  good  as 
his  word — at  least  in  hours,   if  not   days. 

Mary  Lewis   Present. 

It  appears  that  the  reports  were  all  wrong  about  Mary 
Lewis'  father  dying  in  Paris.  Actually,  it  was  no  rela- 
tive of  hers  whatsoever,  but  the  elderly  man  who  had 
kindly  assisted  her  in  pursuing  her  vocal  career.  Mary 
lost  her  own  father  in  childhood,  and  this  other  man 
had  assumed  that  parental  position  toward  her  during 
the  earlier  stages  of  her  career.  He  was  married,  and 
had  three  children  of  his  own,  and  Miss  Lewis  was  very 
much  devoted  not  only  to  himself,  but  to  his  wife  and 
the  entire  family. 

Prior  to  coming  to  Hollywood,  she  took  a  hurried  trip 
to  Paris  to  attend  the  funeral,  and  this  held  up  the  pro- 
duction of  "The  Siren  Song,"  in  which  she  will  make 
her  picture  debut. 

is  to  hi'  fashioned  along  the  lines  of 
but  probably  with  lighter  and  more 


Faced  with  Problems. 
is  in  a  world  of  perplexities. 


Electricity    in 


TTe  can 
lose  his  thousand   faces. 

The  main  thing 
is  make-up.  Chancy 
can't  put  putty  on 
his  cheek  bones,  as 
he  once  did,  and 
talk.  The  putty 
dries  and  comes  off. 

Chaney    used    to 

pad  OUt  his  cheeks, 
too,  by  putting  cot- 
ton ill  the  back  of 
th.  1  le  also 
occasionally  wore 
trick  false  teeth. 
And  these  also  are 
out. 

I  le  thinks  he  can 
conquer  the  diffi- 
culties though,  in 
time.  He  is  work- 
ing with  an  elastic 
type  of  putty  now 
that  mav  be  applied 
externally  with 
•    effect. 


60 


Hollywood  HigK  Lights 


The  camera  is  more  scrutinizing  than  the  eyes  of  spec- 
tators when  they  are  looking  at  stage  actors,  and  conse- 
quently the  same  methods  cannot  be  employed  as  in  the 
theater,  where  the  players  can  wear  grotesque  make-ups. 
That  is  one  reason  Chaney  has  been  having  his  own 
particular  difficulties  in  the  screen  speakies. 

lie  may  do  one  of  his  fantastic  impersonations  soon. 

"//  Fait  Fioid,  Monsieur!" 

The  Chamber  of  Commerce  in  Los  Angeles  had  hctter 
gel  after  Maurice  Chevalier  about  a  slam  that  he  recently 
took  at  their  renowned  summer  climate. 

It  was  at  an  evening  function  at  the  Biltmore  Hotel, 
attended  by  many  him  folk.  The  redoubtable  Maurice 
was  scheduled  to  appear  for  a  song  or  two,  hut  when  he 
was  called  for  he  was  missing.  The  program  had  run 
rather  late,  and  evidently  he  had  departed. 

"lie  left  because  he  was  cold."  some  one  shouted  from 
among  the  tables.  Whereupon  eyebrows  were  raised 
considerably,  and  a  buzz  of  comment  passed. 

At  that,  Maurice  is  a  great  public  entertainer.  He 
proved  that  decisively  when  he  sang  and  joked  on  the 
stage  for  an  hour  each  evening  for  a  week  at  one  of  the 
1  ,os  Angeles  theaters.  The  house  was  sold  out  days  in 
advance,  and  the  matinees  were  stampeded. 

It's  a  race  between  Tibbett  and  Chevalier  of  the  newer 
male  idols. 

After  the  High  C's. 

There's  no  holding  back  those  stars  with  voices.     Ra- 
mon   Xovarro    is    studying    diligently,    and    is    striving 
to  acquire  volume.     And  he  has  acquired  it,  or 
else   the    fellow    who   turns   the   wheels    on   the 
microphone  is  very  clever. 

In  "The  Singer  of  Seville,"  which  we  saw 
recently,  Novarro  sings  "Rich,  Pagliacci"  with 
all  the  dramatic  intensity  of  a  true  operatic  star. 
And  those  songbirds  like  Martinelli  had  better 
look  out  for  their  honors. 

"Ridi,  Pagliacci"  was  chosen  for  the  picture, 
because  it  is  among  the  most  popular  opera  arias 
in  America.  In  the  foreign  versions,  at  least  the 
French.  Ramon  may  render  "Le  Revo"  from 
"Manon"  instead. 

Which  shows  that  he  isn't  just  a  one-aria  man. 

Tortoise  and  Hare. 

Have  you  ever  heard  of  Stomp  'n'  Sellit? 
Well,  if  not,  it  doesn't  matter  so  much,  because 
the  name  was  only  a  "temporary  title." 

Dubbed  too  much  like  Stepin  Fetchit,  it  was 
changed  to  Stompy. 

At  one  time,  Stompy  and  Stepin  were  team- 
mates in  vaudeville.  Both  came  to  Hollywood 
about  the  same  time,  but  Stepin  made  good  first, 
and  then  went — well — just  a  little  haywire. 

Xow  Stompy  is  edging  into  the  gilded  world  of 
success  as  a  featured  player  with  Pathe.     They 
think  he  is  going  to  he  a  real  "find,"  and 
as  yet   he   hasn't   shown   Stepin's   predi- 
lection for  Rolls-Royces  and  chauffeurs. 

And  that  is  indeed  a  hopeful  sign. 

No  Temperament   Here. 
For  once  a  star  has  stepped  out  of  a 
cast,  and   it   doesn't   mean  temperament, 
or     that     somebody     else's 
talents  were  preferred. 

Ann  I  larding  really  did 

need     a     rest     when     June 

Collyer    replaced    her    in 

ond    Victory."      She 


had  worked  for  nineteen  days,  and  almost  the  same 
number  of  evenings  on  "The  Girl  of  the  Golden  West," 
and  then  hurried  into  "Holiday"  for  twenty-one  stren- 
uous days. 

All  the  while  she  was  busy  completing  the  building 
and  furnishing  of  her  new  home. 

So,  what  could  you  expect  but  that  she  would  ask  to 
he  relieved  of  doing  another  picture,  in  which  she  played 
in  just  one  sequence,  anyway? 

But  it's  a  nice  break  for  June,  because  the  role  is  a 
good  one. 

A  Festival  of  Plots. 

The  picture  "Beyond  Victory"  is  worth  more  than 
casual  comment,  for  it  is  one  of  the  most  unusual  ever 
produced. 

Four  separate  stories  are  told,  and  four  sets  of 
principals  are  required  for  each.  William  Boyd  and 
Miss  Collyer  are  cast  in  one,  while  James  Gleason  and 
Zasu  Pitts,  Lew  Cody,  and  Helen  Baxter,  Fred  Scott 
and  Helen  Twelvetrees  play  the  leads  in  the  others. 
Dorothy  Burgess  is  also  importantly  cast. 

The  first  scenes  of  tlje  picture  take  place  at  the  war 
front,  and  each  separate  story  is  a  cut-back  to  the  prior 
lives  of  one  of  the  four  soldiers,  who  each  individually 
tell  how  they  happened  to  enter  the  service. 

The  Mediterranean  Beckons. 
Norma  Talmadge  is  summering  on  the  Riviera.     She 
will  have  her  own  villa  there,   and  will  rest  and  visit 
friends,  probably  returning  here  in  the  fall. 

Norma  was  in  a  fever  to  get  away  for  a 
rest  after  "Du  Barry,  Woman  of  Passion," 
but  had  to  stay  over  almost  two  weeks  for 
retakes  and  a  view  of  the  completed  pro- 
duction. 

Exactly  what  she  will  make  next  is  uncer- 
tain, hut  she  speaks  rather  favorably  of  "The 
Lady."      She   doesn't   want   to   film   "Smilin' 
Through"  again,  above  all  things.     The 
story  has  been  announced  for  Joan  Ben- 
nett,   but    Norma    probably   would    still 
have  the  chance  to  do  it  if  she  wished. 
However,  Norma  is  a  believer  in  let- 
ting the  intensely  favorable  impression 
she  made  in  the  silent  version  of  this 
film    remain    undisturbed,    wherein    she 
shows  her  excellent  judgment. 

Even  though  she  loved  theatergoing 
above  all  things  in  the  past.  Norma  to- 
day prefers  travel  to  anything,  and  she 
likes  to  get  away  from  Hollywood,  and 
particularly  to  go  abroad. 

A  Real   Battle   Royal. 

We  were  much  delighted  not  long  ago 
with  the  news  emanating  from  one  of 
the  studios,  which  stated  that  many 
animals,  including  Buzzo,  a  trained 
bee,  would  be  seen  in  a  picture 
called  "Anybody's  War." 

We   might    mention   that    Moran 
and  Mack  are  the  stars. 

Marjorie    Enters    Joust. 

Marjorie    Rambeau,    erstwhile 

bright  stage  star,  is  giving  the  first 

demonstration  of  her  talkie  talents 

in     "Her    Man,"    and    those    who 

Mary    Doran,    clever    and    promising,    gives    a    good 
account  of  her  ability  in  "Our  Blushing  Brides." 


Hollywood   High   Lights 


61 


know  Marjorie  will  be  especially  glad  to  know  that  her  work  is 
impi  greatly.     There  was  no  actress  more  delightful  in  her 

heyday  of  triumphs,  which  occurred  some  ten  or  fifteen  >•< 

Mi--  Rambeau  has  played  on  the  stage  from  time  to  time  in 
Los  Angeles  during  recent  years,  and  always  draws  an  enthusiastic 
audience.  She  began  her  career  in  the  West,  and  later  won  large 
success  in  New  York. 

Helen  Twel\etree>  and  Phillips  Holmes  are  also  featured  in  the 
picture,  Miss  Twelvetrees,  on  account  of  her  youth,  naturally  being 
cast  as  the  lead. 

No — Not  by  Wayside! 
Billie  Dove  and  Alice  White  are  new  girls  without  a  home.     That 
is,  neither  oi  them  are  at  present  under  contract.      They  closed  their 
sojourn  with  First  National  not  long  ago. 

tldkraut  has  also  left   Universal.     And   Merna  Ken 
nedy  is  no  longer  on  their  regular  contract  list. 

We  won't  believe,  though,  that  they're  all  falling  by  the  wayside, 
because  oi  the  changes  that  the  talkies  have  brought.  just  wait 
six  months  and  see  it  most  of  them  aren't  hack  again. 

Sacrifices  for  Laughs. 
It's   hetter   to   lose   a   quarter   million   now    than    to    he    unhappy 
ever  after. 

Mary  Pick  ford — perhaps  wisely — adopted  this  theory  while  mak- 
'Forever  Yours,"    As  a  consequence,  she  hid  a  fond  farewell 
lot   of   film,  as  well   as  a   supervisor,  and   that  gay  person, 
Marshall  Xeilan. 

Truth  of  the  matter  was  that  Mary's  first  Who  dares  say 
efforts  in  "Forever  Yours"  were  too  serious,  that  Clara 
and  it  was  decided  to  liven  up  the  picture  be-  Bow  is  over- 
fore   it   was   started   again.      The    fear   was   ex-  weight? 

ssed   that   it  might   he  a  disappointment   in  ^^ 

contrast    to    Norma    Talmadge's    production    of      jfi 
several  years  ago. 

It  was  thought  better  to  begin  anew  with  a 

different  scenario,  and  other  men  at  the  helm, 

though  it  was  duly  stated  that   Mickey   Xeilan 

getting  along  splendidly. 

Sam  Taylor,  pinch  hitter  for  the  United  Ar- 

-tudio.  is  directing  now. 
Doug  has  returned   from  his  trip  to  Europe, 
and  will  probably  start  a  picture  soon.     We're 
hoping  it  will  be  a  light  comedy. 


Hart's  Days   Eventful. 
A  William  S.  Hart  bulletin  says  that  he  may 
soon    return    to    the    screen,    financing   his    own 
production.     Rill  has  had  his  tonsils  taken  out, 
has    scared    away    some    sort    of    marauder,    or 
other  disturbing  person  at  bis  country  home. 
and    otherwise   had    an    exciting   time   of    it 
lately. 

Caprice  a  la  Clara. 

Poor  Clara  Bow!  What  a  life!  In  love 
eight  times,  at  least,  and  not  married  yet ! 
And  then,  besides,  out  $30,000  in  an  aliena- 
tion settlement  with  the  wife  of  one  of  her 
admirers!    Ouch.  ouch,  ouch  ! 

The  little  "It"  girl  has  had  a  sizzling  ro- 
mantic career,  and  she  talks  freely  of  it. 

In  a  newspaper  interview  recently  Miss 
Bow  disposed  of  a  sextet  of  men  she  had 
charmed,  telling  the  reasons  why  there  was 
no  marriage,  as  folio 

Gilbert  Roland — she  was  too  young. 

-she  didn't  really  love  him. 

Gary  Cooper — studio  objected  on  grounds 
it  might  hurt  their  career-. 

Victor  Fleming — older  than  she,  and  she 
couldn't  cope  with  his  subtlety. 


Claudette    Colbert    scorns    the    imperial    suite 
aboard    a    floating    palace    for    her    'round-the- 
world  jaunt.     She  prefers  a  freighter. 


An  unnamed  doctor — he  was  already 
married. 

Harry  Richman — tried  to  dominate  her. 
couldn't  stand  it  when  she  wanted  to  Ik-  gay 
and  funny,  and  was  jealous. 

At  latest  reports,  of  course,  the  reigning 
favorite  in  Clara's  love  life  is  Rex  Bell,  who 
Clara  opines  is  a  "swell  fellow." 

Itinerant  Household. 

Education — and  it  should  he  spelled  with  a 
whole  series  of  capitals — certainly  runs  in  the 
Irene  Rich   household. 

We  met  Irene  at  a  theater  opening,  and  she 
was  all  joy,  becriux-  her  older  daughter  was  re- 
turning home  for  the  summer  from  Smith  Col- 
lege, and  her  older  stepson  from  Yale. 

Irene's  younger  daughter  is  attending  a  girl's 
school  at  Santa  Barbara,  and  her  younger  step- 
son also  attends  a  private  school. 

The  boys  are  sixteen  and  nineteen  respec- 
tively, and  are  the  children  of  David  Blanken- 
horn.  her  husband,  by  a  former  marriage,  while 
her  j^'irN  arc  twenty  and  thirteen. 

Irene  deplored  the  fact  that  they  an-  seldom 
all  home  at  one  time.  "One  or  the  other  of  us 
is  always  in  the  Cast,  or  traveling  to  or  from 
there  aid.     "Throughout   one   month   last 

•  ■  T  J 1 1 «  r I    or 


02 


J, 


Symbolic,  Yes? 

Answer    the    question    when    you 

have      inspected      these      pictures 

which     are     supposed     to     typify 

various  cities. 


Merna    Kennedy,    left,    represents — to    her 

own    satisfaction,    at    least — the    spirit    of 

Chicago  as  it   is  in  the  movies. 


yf 


Wmi 


m 

a  lit 


Mary  Philhin,  right,  as  a  flower  of  Puri- 
tan days,  is  Boston,  of  course. 


June  Marlowe,  left, 
listens  for  the  call 
to  make  whoopee, 
for  she  is  an  In- 
dian maid  of  Albu- 
querque. 
Barbara  Kent,  be- 
low, is  San  Fran- 
cisco as  she  sees  it. 
If  you  think  her  vi- 
sion is  cloudy,  just 
remember  the  gold 
rush  of  '49. 


&? 


■I 


\ 


t\ 


y 


s? 


\( 


<£ 


Beautiful 
M  o  n  a  Rica. 
left,  recap- 
tures the 
Spanish  origin 
of  Los  An- 
geles, well 
named  the 
City  of  An- 
gels,  and  saj  s, 
"Come  West, 
young    man." 


fl 


His  Way  \tfith  Women  C^ 

Many  of  the  lithe  figures  and  sparkling  eyes  you  see  on  the  screen  ^.'**'  ^^ 

come    from    the    gymnasium    presided    over    by    "Philadelphia     Jack" 
O'Brien,  whose  exercises  are  here  described. 


B^  Helen  Klumph 


DURING  his  career  as  a  prize   fighter  "Philadelphia  Jack"  O'Brien 
made  lite  miserable  for  the  two-hundred  and  twenty-seven  opponents 
he   pommeled.      He    practically    finished    their    careers   and    wrecked 
their   health.      Now    he    has    more    than    evened    matters    with    Providence, 
conscience,    or    whoever    may    frown    on 
pugilism,    for    he    has    bolstered    up    the 
ers  of  a  Bock  of  Broadway  beauties, 
•red    health    to    between    sewn    and 
eight  thousand  men  and  women,  replaced 
some  eighty-tour  tons  of  human  fat  with 
active   muscle,    and    prolonged    the    earn- 
ing powers  of  thousands  of  jaded  enter- 
tainers. 

It  isn't  such  a  far  cry  from  the  prize 
ring  to  the  gymnasium,  but  Mr.  O'Brien 
would  assure  you  that  the  company  he 
keeps  now  is  much  more  amusing.  And 
better  to  look  at.  Picture  and  Stage  stars 
refer  to  their  figures  as  "an  O'Brien  pro- 
duction." and  haunt  his  gymnasium  while 
they  are  in  New  York. 

He  puts  his  charges  through  a  rig- 
orous course  of  training  and  makes  them 
like  it.  Far  from  rebelling  against  his 
torturous  work-outs,  his  patients  get  so 
enthusiastic  he  has  to  curb  them  to  keep 
them  from  overdoing. 

His  enthusiasm  for  his  work  is  infec- 
tious. Ask  Winnie  Lightner,  who  re- 
duced seventeen  pounds  in  five  weeks. 
Ask  Irene  Delroy.  to  whom  he  restored 
sparkling  eyes  and  a  lithe  gait  when  an 
exhausting  season  in  musical  comedy 
made  her  dread  her  approaching  debut 
in  pictures.  Ask  Harry  Richman.  who 
keeps   in   condition   un- 


\ 


der  O'Brien's  direction 
in  spite  of  an  appalling 
daily    schedule   of   per- 
sonal appearances  with 
his  picture,   work  in   a 
revue,   and   long  hours 
singing     in     his     night 
club.     Ask   almost   any 
one  on    Broadway,    for 
that  matter,  for  the  parade  forms 
on  the  left,  right,  and  middle,  and 
hustles  daily  to  the  O'Brien  gym- 
nasium on  the  roof  high  above 
the  Warner  Theater. 

Theatrical  people  by  the  score, 
well-known  figures  in  the  finan- 
cial world,  doctors,  lawyers,  and 
priests,  and  practically  all  the 
film  reviewers  on  the  New  York 
newspapers,  go  there.  Note  that 
last  group.  They're  a  lazy  cr 
— or  were — accustomed  to  lolling 
in  theaters   for  hour  'lay. 

But    when    they    saw    Lightner, 


Winnie 

Lightner 

reduced 

seventeen 

pounds 

in 

five 

weeks. 


Delroy,  ei  <//,  growing  slim, 


Irene  Delroy  owes  a 

successful       picture 

debut     to     physical 

fitness. 


bright-eyed, 


bristling 


with    vitality,    they   couldn't 
bear  it.     How  can  you  criti- 
cize a  girl  on  the  screen  for 
being    overweight    and 
stodgy  when  your  own  em- 
bonpoint   begins    to    reach    wide-screen    dimensions? 
Oh  well,  you  can.  but  you  will  be  greeted  by  a  burst 
of  catty  laughter  if  you  do. 

O'Brien  isn't  always  called  on  to  re- 
duce fat.  Erin  O'Brien  Moore,  the  love- 
liest and  most  gifted  young  stage  actress 
who  hasn't  yet  succumbed  to  picture  of- 
fers, put  on  fifteen  pounds  under  his 
direction. 

Individual   treatments   vary,   of   course, 
but    here    i-    a    typical    routine    of    the 
O'Brien  gymnasium.    Try  it  in  your  own 
>ackyard   if  you  want   to,  but   you  will 
never    keep    it    up    without     fellow- 
sufferers  and  the  driving  enthusi- 
in  of  an  ( 'I'.rien  to  urge  you  on. 
The   newcomer    is    weighed    and 
measured    and    it    is    decided    just 
what    amount    is   to   come   off   and 
from  where.     Heavy  rubber  gar- 
ments are  then  fit! 
fending  bulges     chin  bands,  abdo- 
men   bands,    trunks,    or    whati 
• 


(.1 


D.  W.  Griffith  rehearses  Neil  Hamilton  and  Carol  Dempster. 


Part  IV. 

AS  I  think  of  it  now.  Toledo  must  have  been 
base  of  supplies,  and  these  trips  in  search  of 
ployment  were  really  exploring 
expeditions  toward  an  El  Dorado.  Once 
more  the  express  trolley  comes  to  a  stop, 
and  among  the  passengers  pouring  out 
into  the  dingy  waiting  room  was  I,  by 
this  time  very  much  ashamed  at  not 
being  able  to  set  the  world  afire  in  my 
various  pursuits.  And  I  walked  right 
into  a  job ! 

My  fiancee's  sister  was  working  for 
the  Automobile  Legal  Association.  This 
club  furnished  such  services  as  free  tow- 
ing, road  service,  defense  in  court  when 
necessary,  and  other  necessary  helps  to 
motorists.  It  was  a  service  that  sold 
for  ten  dollars  a  year,  and  the  sales- 
man's commission  was  two  and  a  half 
dollars.  A  word  to  the  boss,  I  got  the 
job,  and  sold  two  memberships  the  first 
dav.  netting  myself  five  dollars. 

On  the  second  day  I  struck  opposi- 
tion. A  prospective  customer  told  me 
that  another  organization  rendered  the 
same  service,  so  why  should  he  change? 
I  had  no  answer.  I  soon  ran  out  of 
friends  to  call  upon.  The  office  man- 
ager gave  me  help  to  overcome  objec- 
tions, but  somehow  T  did  not  have 
enough  nerve,  and  wasn't  able  to  put  it 
across.  .My  first  day's  total  was  my 
first  week's.  The  following  week  I  sold 
one.  and  one  the  following  week — this 
in  face  of  the  fact  that  a  woman  on  the 
force  averaged  six  a  day.  I  gave  up  as 
I  couldn't  overcome  the  objections  of 
the  buyers,  although  the  service  that  I 
\\a-  selling  had  one  hundred  per  cent 
merit. 

Almost  a  year  had  past  since  I  left 
the  theater.  I  decided  that  A.  I..  A.  and 
I  had  nothing  in  common  :  or  rather  the 
office  manager  told  me  so.  Once  more 
I  was  in  search  of  a  job.  The  Toledo 
News-Bee   carried   a    want    ad:     Young 


my 
em- 


I  Stop  to 

No  fame  and  fortune  story  is  more  absorb 

man,    because    it    is    true    to    life    and    is 

installment   occurs    that    darkest   hour 

B?  Neil 

man,  personable,  to  work  in  cigar  store;  see 
Mr.  Willard.  So  I  waltzed  down  to  see  Mr. 
Willard.  We  talked.  I  advanced  the  theory 
that  having  worked  in  the  theater  I  had  ac- 
quired sufficient  personality  to  sell  any  cigar 
in  the  world,  coupled  with  the  fact  that  I  had 
sold  stocks  and  bonds,  straw  hats,  Toledo 
Israelite  advertising,  and  the  A.  L.  A.  service. 
I  got  the  job.  Salary  seventeen  dollars  a  week, 
with  every  other  Sunday  off. 

I  start  work.     I  alternate  every  other  morn- 
ing in  opening  the  store,   sweeping  the  side- 
walk, mopping  the  floor,  dusting  the  counters, 
washing  the  windows,  and  all  the  other  details 
that  go  with  morning  hours  in  any  store.     After  these 
chores  were  done  the  job  was  rather  a  lazy  one.    I  would 
find  myself  standing  behind  the  counter 
daydreaming,   thinking  that  a  year  ago 
I    had    been    in    Montreal    with    Grace 
George,    when    suddenly    my    thoughts 
would  be  jerked  back  by  a  demand  for 
tobacco.      Cigarettes    delivered,    change 
made,  some  passing  remarks  about  the 
weather,  and  then  back  to  daydreaming. 
I  would  find  myself  back  in  Washington 
the  day  I  tossed  peanuts  from  the  top 
of    the   Washington    Monument  to    see 
how  far  I  could  follow  them  with  my 
eye,  when  again  a  sudden  demand  for 
smokes  would  be  made. 

This  went  on  for  six  weeks,  when 
much  to  my  surprise  and  embarrass- 
ment, Mr.  Willard  walked  in  one  morn- 
ing, opened  a  cigar  box.  took  out  a  cigar 
and  asked  me,  "Domestic  or  imported?" 
I  hadn't  the  faintest  idea.  He  reached 
into  another  box  and  asked  me,  "Pana- 
tella  or  club?"  They  were  just  plain 
cigars  to  me.  He  reached  into  a  third 
box.  took  out  a  cigar,  held  it  temptingly 
before  my  nose  and  asked,  "Havana  or 
stogy?"  To  me  it  was  again  just  a 
cigar. 

Indignant,  disappointed,  and  upset,  he 
said  to  me,  "Hamilton,  it  doesn't  strike 
me  that  you  are  the  type  of  man  who 
intends  devoting  his  life  to  the  cigar 
business."  I  made  some  passing  refer- 
ence to  his  being  a  discerning  gentle- 
man, and  that  I  had  no  intention  of  de- 
voting my  life  to  the  cigar  business.  He 
jeeringly  asked  what  I  was  going  to  do, 
and  I  replied  that  some  day  I  hoped  to 
follow  my  original 
Mafried  in  the  jntenTjon"  0f  stay. 
morning,  dismissed  •  m  thp  theaten 
from    his    theatrical      ™°         r  „  , 

4.u  *     :«*.♦        I  hen    tollowed    a 
company  that  night,       ,  .  . 

Neil   Hamilton      long,  fatherly  dis- 

doesn't    know    what      course,     the     high 

will  happen  next.        lights    being    that 


Look  Back 

ing  than  this  autobiography  of  a  favorite  leading 
published  exactly  as  written  by  him.  In  this 
before  dawn  which  comes  to  every  one. 

Hamilt 


IS 


on 


he  was  looking  for  a  young  man  on  whom  he  could  rely 

run  his  business   for  him.   so   that   it    he   were  called 

away  tor  a  week  his  dork  could  intelligently  order  the 

necessary  goods,  and  would  he  able  to  tell  with  his  eyes 

shut  and  by  their  odors  alone  the  various  cigars,  cig- 
and  tobaccos  which  met  with  public  approval. 
I  assured  him  that  I  was  not  made  for  that  sort  of  a 
job,  and  by  mutual  agreement  we  decided  that  the  follow- 
ing Saturday  should  witness  my  ignominious  departure 
from  the  tobacco  trade,  wealthier  by  seventeen  dollars. 
ce  more  I  was  out  oi  a  job.  By  then  it  was  not  SO 
terrifying  as  it  was  a  year  ago.  I 
had  become  used  to  it.  M\  sweet- 
heart's theater  was  closed  for  the 
summer  and  she  was  tilling  in  the 
time  by  working  in  the  ticket  office  of 
one  of  the  steamship  lines  plying  the 
Great  Lakes.  I  met  her  on  a  Sat- 
urday night,  hroke  the  sad  news. 
and  we  went  home  on  the  street  car. 
Xow  comes,  to  me  at  least,  the  most 
interesting,  dramatic,  and  romantic 
chapter  of  the  whole  thing. 

We  spent  the  following  day  to- 
gether— Sunday.  Elsa  didn't  have  to 
be  at  the  ticket  office  until  noon  Mon- 
day. She  made  an  appointment  to 
meet  me  downtown  early  Monday 
morning.  We  met  and  she  took  me 
to  a  clothing  store,  got  me  a  new  suit, 
shoes,  shirt,  tie.  socks,  underwear,  a 
hat.  and  then  she  got  me  a  one-wax- 
ticket  to  Xew  York  and  insisted  that 
I  take  the  train,  with  this  advice. 
That  as  I  had  been  away  from  New 
k  a  year  and  had  tried  several 
lines  of  work  outside  the  theater,  and 
had  been  unable  to  make  a  go  of  any 
of  them,  she  advised  me  to  pick  up  the 
scattered  threads  of  my  career  and 
start  all  over  again.  She  added  that 
if  I  got  a  job  that  would  pay  enough 
to  get  married  on.  to  write  and  let  her 
know  and  she  would  come  to  me. 

The  following  week  T  left  Toledo. 
In  the  meantime  the  theater  had 
opened  and  she  was  back  in  the  box 
office.  My  train  left  at  one  o'clock. 
and  she  could  not  leave  her  work,  be- 
te she  had  a  very  heavy  line-up 
during  the  noon  hour,  and  our  final 

was  most  unsatisfactory 
customers  were  clamoring  at  the  win- 
for  seats.  She  was  unable  to  go 
to  the  station  with  me.  and  T  had  to 
leave  alone.  By  the  time  the  train 
reached  Geveland  I  was  so  thor- 
oughly depressed  at  the  thought  of 
leaving  my  heart  behind,  that  for  five 
cents  I  would  have  turned  back. 


Neil  Hamilton,  turned  out  of  the 

house    by    his    former    pal,    loses 

his  high  spirits  until  taken  in  by 

a  real  friend. 


1  arrived  in  Ne\»  York  with  possibly  the  heaviest  heart 
in  the  city,  and  had  jum  enough  money  left  to  get  to 
New   Haven  to  Bee  mother  and  dad.     [had  hem  a.- 
from  home  a  year,  the  longest  time  1  had  been  ab 

nice    I   left   home.  BO  it   was  a  CASC  of  the   prodigal's 

turn.     I  stayed  three  days,  borrowed  the  fare  back 
\Yu  York  from  my  mother,  and  once  more  started  the 

rounds  of    the  agents   who  were   surprised   to  see  me. 

m\  existence  was  more  or  less  forgotten. 

On  my  first  day  hack,  I  decid.-d  to  look  up  a  man 
with  whom  I  had  been  very  friendly  and  to  whom  1 
believed  I  could  honestly  turn  for  help.  I  called  at  his 
rooming  house.  lie  was  out.  I  called  an  hour  later: 
IS  still  out.  Several  times  that  afternoon  and  eve- 
ning 1  returned.  On  my  last  call  at  twelve  thirty  1  met 
him  going  in,  very  much  dressed  up.  the  picture 
prosperous  actor.  He  was  playing  at  the  time  with 
Billie  Burke,  and  much  to  my  surprise  had  acquired  an 

English  accent!      He  assured'  me  that    although   F 
delighted    to    see    me.    he    didn't    have    a    dime    to    lend 
me,  but  could  put   me  up   for  the  night   in  his  room,   if 
I  didn't  object  to  sleeping  in  a  chair,  as  he  shared  the 
place  with  another  young  man. 

This  suited  me,  although  T  was  dis- 
appointed by  his  coolness  and  changed 
attitude.  I  stayed  two  nights.  Then 
he  politely,  hut  firmly,  asked  that  I 
look  for  a  room  of  my  own.  He  said 
the  landlady  objected  to  a  third  person 
in  the  room,  and  if  T  remained  she 
would  raise  the  rent.  So  I  left,  with- 
out even  a  dime. 

Late  that  night  after  I  bad  been 
ordered  out.  as  T  was  walking  down 
Forty-fourth  Street  to  keep  warm.  I 
passed  a  muffled  figure  very  much  in 
a  hurry  and  received  a  grunting 
hello.  I  turned  hack  to  discover  Mc- 
Kay Morris,  who  had  just  fur 
his  performance  in  "Main  Street." 
The  last  time  T  had  seen  him  was  in 
my  dressing  room  at  the  Fortv- 
fourth  Street  Theater,  when  he 
helped  me  put  on  the  exotic  make-up 
for  "Artists'  Fife"  a  vear  ago. 

He  asked  me  where  I  was  going. 
I  told  him  T  had  no  place  to  go, 
whereupon  he  generously  insi 
that  I  share  his  apartment  until  I  was 
able  to  take  care  of  myself.  T  went 
home  with  him  and  for  the  first  time 
in  two  tlavs  broke  my  fast. 

After  about  two  weeks  T  received 
an  offer  for  two  weeks,  with  a  guar- 
antee of  fifty  dollars  a  week,  to  play 
a  bit  in  a  picture.  The  only  catch 
was  that  it  required  evening  clothes. 
McKay  promptly  lent  me  enough 
money  to  overcome  this  handicap. 

I  remember  that  in  one  of  the 
scenes  1  was  sitting  at  a  table  with 
Martha  Mansfield,  and  during  tin- 
wait  s.  while  the  cameramen  adjusted 
their  cameras  and  the  lights  v 
moved  around,  she  and  1  talked.    She 

very  generous  in  her  criticism  of 

the  previous  day's  rushes  and  assured 
me  that    some  day   1    should   mal 
name  for  myself.     It  was  with  a  great 
deal  of  sorrow  that   I  read  som< 
months   later  of  her  tragic  death   by 
fire  while  on  location. 


00 


I   Stop  to   Look   Back 


The  picture  finished,  the  following  week  an  oppor- 
tunity came  to  be  leading  man  in  Charles  Blaney's  stock 
company  in  Brooklyn.     His  wife,  Cecil  Spooner,  was  the 

star.  ()t'  course,  1  lumped  at  this  opportunity.  The 
salary  was  only  sixty-five  dollars  a  week,  hut  at  last  I 
had  achieved  the  distinction  of  becoming  a  leading  man. 
Needless  to  add.  to  celebrate  the  occasion  I  phoned  to 
Toledo. 

Our  opening  bill  was  "East  Is  West."  We  played  a 
week.  I  had  sixty-live  dollars  in  my  pocket,  with  the 
prospect  of  sixty-five  the  next  and  all  during  the  season. 
1  succeeded  in  overcoming  all  objections,  and  the  follow- 
ing Saturday  Elsa  left  Toledo,  arrived  in  New  York 
Sunda) .  and  we  were  married  in  the  Church  of  the 
Blessed  Sacrament.  Monday  at  eleven  in  the  morning  on 
November  27,  1922. 

My  good  friend  Mcka\  Morris  provided  an  elaborate 
breakfast  as  his  contribution  to  the  occasion,  and  with 
my  bride  I  left  for  Brooklyn  for  the  final  dress  rehearsal 
of  the  play  to  open  that  night  To  say  that  I  was  elated 
is  putting  it  mildly.  I  had  finally  achieved  my  heart's 
desire,  had  risen  to  the  rank  of 
leading  man  in  my  profession, 
and  had  the  prospect  of  as  pleas- 
ant a  future  as  one  could  imagine. 

We  gave  the  performance  that 
night.  The  house  was  filled,  the 
applause  most  generous,  and 
laughs  came  every  second,  as  we 
were  playing  the  farce  "Ladies' 
Night."  After  the  performance 
I  hurried  to  my  dressing  room, 
rushed  my  make-up  off,  and  re- 
ceived congratulations  from  the 
rest  of  the  cast.  Mr.  Blaney 
came  in  and  laid  my  part  down 
for  the  next  week.  I  stuffed  it 
into  my  pocket  after  he  left,  with 
an  accompanying  envelope.  The 
first  thing  that  came  into  my  head 
was  that  not  only  was  my  lucky 
star  shining — it  was  beaming ! 
Mr.  Blaney  had  no  doubt  raised 
my  salary,  for  T  bad  been  there 
three  weeks.  T  hurriedlv  tore 
open  the  envelope.  Inside  was 
my  two  weeks'  notice.  Dismis- 
sal !  My  entire  little  world 
crashed  around  me. 

If  at  any  time  in  my  life  things  bad  looked  black, 
certainly  this  moment  was  the  blackest  of  all.  How  I 
ever  summoned  courage  and  strength  to  leave  my  dress- 
ing room  is  beyond  me.  Downstairs  at  the  stage  en- 
trance was  Elsa,  a  bride  of  twelve  hours,  waiting  for 
me.  We  had  to  travel  on  the  street  car  to  reach  the 
subway  and  she.  noticing  my  reticence,  was  amused.  She 
attributed  it  to  a  young  husband's  shyness! 

We  finally  reached  the  subway,  and  during  the  trip 
bome,  as  T  had  not  said  a  word  in  answer  to  her  ques- 
tion-, she  became  alarmed  and  pleaded  with  me  to  tell 
her  what  was  the  matter.  T  had  neither  courage  nor 
heart  to  tell  her  about  the  slip  that  was  burning  a  hole 
in  my  pocket. 

I  finally  handed  it  to  her,  expecting  to  have  to  carry 
her  from  the  train  at  the  next  station.  Then  and  there 
1  experienced  the  second  biggest  moment  in  my  life — 
the  first  bad  been  that  morning  when  I  had  said.  "I  do" 
— for  instead  of  swooning  as  ninety-nine  out  of  a  hun- 
dred would  have  done,  she  said.  "Is  //;/'.:  all  that  has  been 
worrying  you?  Don't  be  silly.  We  have  two  weeks 
ahead  of  us  in  which  you  will  receive  $130.  Tt  will 
Carry  us  another  two  weeks,   if   we  watch   carefully.      Tf 


-,±»^«jl»>-' 


Elsa  and   Neil   Hamilton  were  married  in 
1922,    when   he   was   twenty-three. 


the  worst  comes  to  the  worst,  I  can  look  up  some  man- 
agers 1  know,  and  I  shall  have  no  difficulty  in  getting  any 
box  office  J  want  and  make  more  than  enough  to  take 
care  of   us." 

It  would  take  a  Dumas,  an  O.  Henry,  or  a  DeMaupas- 
sant  to  cram  into  a  few  sentences  the  suspense,  the  heart 
interest,  and  drama  that  occurred  in  the  subway  that 
night.  'Idle  reason  I  had  been  given  my  notice  was  be- 
cause 1  was  too  young  for  the  plays  they  planned  for  the 
coming  season.  As  I  had  established  myself  as  leading 
man  there,  I  could  hardly  be  the  juvenile,  so  they  de- 
cided to  let  me  go. 

Through  McKay  Morris  I  met  Minnie  Elizabeth 
Webster,  an  agent,  and  I  regret  to  state  that  great  un- 
pleasantness arose  between  us  in  the  following  years. 
She  assured  me  that  I  would  be  a  good  bet  for  pictures 
and  promised  to  arrange  an  introduction  to  D.  W.  Grif- 
fith. Frankly,  meeting  the  great  Mr.  Griffith  was  a  thing 
utterly  beyond  my  dreams.     But  I  did  meet  him. 

Mr.  Griffith  said  that  be  could  say  nothing  one  way  or 
the  other,  until  he  had  seen  a  test  of  me.  He  asked  if  I 
would  come  to  the  studio  next 
day  for  a  test,  but  I  told  him  I 
bad  a  rehearsal,  a  matinee  and  an 
evening  performance.  He  said, 
"That's  too  bad.  I  can't  make 
it  this  Sunday,  but  come  a  week 
from  Sunday."  He  was  mildly 
amused  at  my  thus  putting  him 
off,  as  well  be  should  have  been, 
for  I  believe  I  am  the  only  actor 
who  ever  postponed  a  test  with 
D.  W.  Griffith.  He  looked  at  me 
with  a  twinkle  in  bis  eye,  and 
asked,  "Well,  young  man,  just 
when  can  you  favor  me  with  a 
test?"  To  which  I  replied,  "The 
Sunday  after  my  girl  arrives 
from  Toledo."  All  this  hap- 
pened before  my  marriage. 

Dawns  the  first  Sunday  fol- 
lowing that  great  day.  Terribly 
impressed  with  the  fact.  Hor- 
ribly tired,  what  with  rehearsals 
every  day  in  the  week  and  four 
matinees.  My  mind  was  so 
crammed  with  different  plays 
that  I  didn't  know  where  I  was. 
Anticipating  the  loss  of  the  day, 
I  bad  sat  up  all  the  previous  night  memorizing  my  next 
week's  part.  I  left  for  Mamaroneck  on  the  nine  five 
train,  so  tired  that  my  enthusiasm  for  the  test  was  at  a 
low  ebb. 

It  is  only  a  three-quarter  hour  journey,  but  I  fell 
asleep  and  came  to  as  the  conductor  passed.  I  asked  him 
when  we  would  get  to  my  destination.  "Mamaroneck! 
Why,  we  passed  there  an  hour  ago.  Our  next  stop  is 
Stamford,  the  end  of  the  line."  Imagine  my  embarrass- 
ment!  At  Stamford  I  took  the  street  car,  but  didn't 
arrive  at  Mamaroneck  until  two  thirty  in  the  afternoon, 
instead  of  ten  in  the  morning  when  I  was  due.  I  was 
very  hungry,  and  feeling  that  T  was  already  late  it 
wouldn't  matter  if  I  was  a  little  later,  T  went  into  a 
restaurant  for  bam  and  eggs  and  coffee. 

The  studio  door  slammed  in  mv  face.  The  slamming 
was  caused  by  the  arrival  of  Mr.  Griffith,  for  be  just  pre- 
ceded me.  On  the  set  in  faultless  attire  and  perfect  make- 
up were  seven  young  men,  all  there  for  the  same  reason 
as  I,  among  them  Buster  Collier  and  Joseph  Striker.  I 
hurried  upstairs  and  made  up.  I  bare  neglected  to  add 
that  T  bad  a  toothache  which  bad  swollen  mv  jaw  to  twice 
its  normal  proportions.  [Continued  on  page  100] 


G7 


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I    91 
i  u  hc^Tr 


tii  irtltti  jhki  ifikiljLiliu  _ 


A   Confidential   Guide  to   Current   Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 
"All   Quiet   on  the   Western   Front" — 
Universal.      Faithful    screening    of    the 
realistic  novel  of  World  War,  with 
no  happy  ending  or  girl  appeal.    Strong- 
■Im  document   against   war.     Lewis 
heim,  "Slim"  Summer- 
ville,    Russell    Gleason,    William    Bake- 
well,  John  Wray  outstanding  in  big 

"King  of  Jazz,  The" — Universal.  All 
Technicolor.  Spectacular  revue,  with  in- 
timate touch,  starring  Paul  Whiteman, 
with  not  quite  enough  of  him.  John 
-.  Jeanette  I.otT.  Laura  La  Plante, 
Glenn  Tryon,  Merna  Kennedy.  Many 
more  seen  flittingly. 

"Devil's  Holiday,  The" — Paramount. 
Human,  sympathetic  characterization  by 
y  Carroll,  every  inch  the  star. 
Manicurist  out  West  sells  farm  machin- 
ery to  customers,  and  finally  marries 
.  heat  man,  and  complica- 
tions set  in.  Nice  old  hokum.  Phillips 
Holmes.  Ned  Sparks,  Hobart  Bosworth, 
James  Kirkwood. 

"Paramount  on  Parade" — Paramount. 
Technicolor  sequence.  Best  of  revues, 
with  intimate  entertainment  before  spec- 
tacle, although  latter  is  not  neglected. 
Genial,  glittering  show  includes  many 
stars,  with  Maurice  Chevalier,  Evelyn 
Brent.  Harry  Green,  Kay  Francis, 
Nancy  Carroll,  Helen  Kane  probably 
heading  list. 

"Honey"' — Paramount.  Diverting  mu- 
sical piece,  with  agreeable  plot,  but  no 
danger  of  brain  fag.  Southern  family 
rents  house  to  Northern  woman,  and 
there  follows  romantic  tangles.  Nancy 
Carroll,  Richard  Gallagher,  Jobyna 
Howland,   Mitzi  Green. 

"Benson  Murder  Case,  The" — Para- 
mount. Best  of  the  Philo  Vance  cinemas, 
absorbing,  thrilling,  with  all  intelligence 
detective  stories  will  bear.  William  1 
ell  at  his  best  excellently  supported  by 
Natalie  Moorhead,  Paul  Lukas,  Eugene 
Pallette,  E.  H.  Calvert,  Richard  Tucker. 

"Free  and  Easy*' — Metro-Goldwyn. 
Low  comedy  at  its  best,  with  Buster 
Keaton  escorting  a  beauty-contest  win- 
ner, Anita  Page,  to  Hollywood.  Old 
idea  with  new  treatment,  with  glimpses 
of  many  screen  notables  at  the  studios. 

"Song  o'  My  Heart"— Fox.  John 
irmack  central  figure  in  gentle 
Irish  story,  with  eleven  songs  beauti- 
fully recorded.  Finely  directed,  excel- 
lently acted,  with  new  ingenue,  Maureen 
O'SulIivai.,  and  Tommy  Clifford,  both 
from  Ireland.  John  Garrick,  J.  If.  Kcr- 
Alice  Joyce. 

"Sarah  and  Son" — Paramount.  Ruth 
Chatterton  at  her  best  as  poor  German 
girl  who  rises  to  the  top  as  prima  donna, 
in  touching  mother-love  story.  Diffi- 
cult characterization  perfectly  done. 
Philippe  de  Lacy,  Frcdric  March.  Gil- 
bert Emery,  Doris  Lloyd,  William 
Stack. 

"Men    Without    Women"—  Fox,      In- 
tensely  human   picture   of   men    tr.v 
undersea.      Fine   characterization,  action 
motivated    by    invisible    heroine.      Ken- 


Frank    Albertson,    as 
ensign,    are    striking. 

F.rwin,    Warren    lly- 


neth    MacKenna, 
torpedoman    and 
Paul    Page,  Stuart 
hut,    Farrell    Mai  Donald. 

"Green  Goddess.  The"  — Warner. 
George  ArlisS  as  suave,  merciless  rajah 
into  whose  kingdom  a  group  of  Eng- 
lish land  by  plane.  Plans  tor  execu- 
tion of  visitors  for  revenge  thwarted  in 
thrilling  manner.  H.  B.  Warner,  Ralph 
F'orbes,  Reginald  Sheffield,  Alice  Joyce. 

"Seven  Days'  Leave" — Paramount. 
Exceptional  film,  lacking  boy-and-girl 
love  element,  with  honors  to  Beryl  Mer- 
cer and  Gary  Cooper.  Charwoman  "in- 
vents" soldier  son,  and,  to  humor  her, 
a  real  soldier  has  her  to  adopt  him. 
Simple,    touching. 

"Vagabond  King,  The"— Paramount. 
All  Technicolor.  Beautifully  filmed,  far 
above  the  "Oh,  yeah?"  and  tootsie 
theme-song  musical  films.  Story  of 
Villon,  the  French  poet,  and  Louis  XI 
— Dennis  King  and  O.  P.  Heggie  re- 
spectively, both  excellent.  Warner 
Oland  and  Lillian  Roth  fine.  Jeanette 
MacDonald  pastel  leading  lady. 

"Rogue  Song,  The" — Metro-Goldwyn. 
Song,  dialogue,  all  Technicolor.  Law- 
rence Tibbett's  debut  on  the  screen  is 
high  mark  of  musical  films.  Magnifi- 
cent voice,  vigorous  personality  make 
up  for  weak  story,  made  weaker  by  de- 
tached horseplay.  The  bandit  kidnaps 
the  princess.  Catherine  Dale  Owen, 
Florence  Lake. 

"Anna  Christie"  —  Metro-Goldwyn. 
Greta  Garbo's  first  talkie  reveals  an  un- 
usually deep  voice.  Heroic  effort  in 
role  demanding  the  best  in  speech. 
Ruthlessly  frank  story  of  streetwalker 
is  unlike  her  former  ones.  Charles 
Bickford,  George  Marion,  Marie  Dress- 
ier. 

"Welcome  Danger"— Paramount. 
Part  dialogue.  Harold  Lloyd  makes 
you  laugh  all  through,  with  time  out 
only  for  breathing — and  some  speech  by 
Mr.  Lloyd.  His  voice  suitable.  Harold 
runs  down  a  Chinese  villain  in  his  own 
way.  Barbara  Kent  naively  charming. 
Noah  Young  funny  as  policeman. 

"Dynamite"  —  Metro-Goldwyn.        All 
dialogue.      Cecil    DeMille's    first    experi- 
ment    in     talkies     brilliantly     effective. 
Moviesque    plot,    embellished    with    fine 
acting  and   photography   and   intelligent 
dialogue,    becomes    convincing,    even    if 
about    coal    miner    and    society    woman. 
Kay   Johnson's    debut    perfect.      Charles 
Bickford,     Julia     Faye,     Conrad     Nagcl, 
Muriel    McCormac,    Leslie    Fenton. 
*     - 
FOR    SECOND    CHOICE. 
"Song  of  the  Flame"— First  National. 
Technicolor.      Beautiful    i  the 

ian     mood,     choruses,     mobs,     and 
fiances.     Dazzling  production   will   com- 
ate    for    real    that    makes    a    film. 
to  riot  and  pi! 

Alexander     Gray,     Noah      ! 
Gentle.    1 1 

"Texan.     The"  —  Paramount.        Gary 


r    in    story    bektW    par,    in    which    an 
outlaw    pc  :i  ,.i  rich  South  Amer- 

ican  widow,  and  is  touched  to  repent- 
ance   by    Ins    reception.      Sefiora'i    niece 
also  melting.    Sheriff  on  his  trail  is  - 
on    the    momentary    delinquent. 
Wray  good;     Emma  Dunn  the  sefiora. 

"New  Adventures  of  Doctor  Fu 
Manchu.  The"— -Paramount.  Oriental 
villainy  line  for  thus,-  who  relish  it, 
average  film  for  those  who  don't. 

lor    lit    conies    to    life    to    carry    on    his 

hatred.    Suspense  and  thrills.     Fin< 
ing.     Neil    Hamilton,  Jean  Arthur,  War- 
ner   Oland,    0.    P.    Heggie. 

"Big  Pond,  The"— Paramount.  Mau- 
rice Cheyalier,  almost  songless.  French- 
man brought  to  this  country  by  i  luw- 
ing-gum  king  to  show  him  up  and  break 
romance  with  American's  daughter. 
What  does  he  do  but  show  our  boys 
how  to  make  gum,  and  win  the  girl, 
too?     Voilil     Claudette  Colbert  good. 

"Double  Cross  Roads" — Fox  Excel- 
lent crook  picture,  finely  acted  by  I.ila 
Lee,  Robert  Ames,  Montagu  Love,  Ned 
Sparks,  Edythe  Chapman.  Gripping 
plot,  nicely  sustained  suspense.  Con- 
vict tries  to  reform,  falls  in  love  with 
decoy  planted  by  master  criminal.  In- 
telligent  throughout. 

"Show  Girl  in  Hollywood" — First  Na- 
tional. Alice  White  makes  good.  Pertly 
attractive,  yet  gives  depth  to  role.  Dixie 
Dugan's  adventures  in  breaking  into  the 
movie  racket,  and  once  there,  goes  hay- 
wire. Genuinely  diverting.  John  Mil- 
jan,  Jack  Mulhall,   Blanche  Sweet. 

"Divorcee,  The"  —  Metro-Goldwyn. 
Norma  Shearer's  performance  of  the 
"Ex-wife,"  as  the  novel  was  called,  finely 
capable,  yet  superficial.  Skirts  the  ris- 
que, but  even  a  child  could  see  through 
thinly  disguised  implications.  On 
Morn's.  Robert  Montgomery,  Flori 
Eldridge,  Mary  Doran. 

"Ladies  Love  Brutes" — Paramount. 
Story  of  frustrated  desire  of  a  million- 
aire with  underworld  background.  Cli- 
max does  not  ring  true,  although  George 
Bancroft   is   sympathetic.     Mary    A 

typically  screen  "society"  as  heroine, 
Fredric  March  her  husband.  Freddie 
Burke  Frederick  and  David  Durand,  boy 
actors,  good. 

"Light  of  Western  Stars,  The"— Para- 
mount.     Zane    Grey    story    remad 

talkie,  with  Richard  Arien,  Mary  Brian, 
Fred     Kohhr,     R<  >mey,     11 

Green.      Latter    turns    up    as    wisi 
ing  peddb  r.     Heroine  goes  to  rane!: 

brother,    is    mo'. 

villain,   who   is   finally   done   up   by    ! 
Much   gun   play  and   di  lini 
ged   char., 

"Arizona  Kid,  The"  Pox  Stencil  of 
"In   I  which   prod 

you    to    ha vi  Likable 

bandit,  Warm  '  of  mur 

der  in  a  gold  mil 

I  ufT    link    that 
d     him 

Th< 

'    Lombard.  [CoaUiw*d  eo  PM»  US] 


68 


creerv  «  E>g\Heur 


A  critic  sadly  records  the  arrival  of  the  silly   season  and   submits  proof   of   it. 


THOUGH  pretending  to  be  nothing  more  than  a 
program  picture,  "Shadow  of  the  Law"  enter- 
tained me  more  than  any  other  this  month. 
Judged  by  the  gripping  attention  of  audiences,  I  am  not 
alone  in  my  opinion.  It  is  capital  melodrama,  full- 
bodied  and  upstanding,  and  is  indigenous  to  the  screen. 
In  other  words,  it  is  not  a  stage  play  that  has  been  doc- 
tored for  the  talkies.  Much  of  its  strength  comes  from 
William  Powell,  who  plays  a  persecuted  hero  for  a 
change  and  plays  him  with  all  the  restraint,  dignity. 
authority,  and  humanness  we  expect  from  this  superla- 
tive actor,  lie  disguises  the  occasional  implausibility  of 
thi'  proceedings  with  an  intelligence  that  silences  criticism 
during  the  course  of  the  picture.  It  is  only  afterward, 
when  one  is  no  longer  held  by  Mr.  Powell's  presence, 
that  second  thoughts  yield  the  same  faults  in  the  story. 
We  shall  not  go  into  them,  for  the  picture  is  devised  to 
entertain  and  that  it  assuredly  does. 

A  young  man,  out  for  sentimental  adventure  of  the 
more  elegant  sort,  accompanies  an  ermine-cloaked  lady 
to  her  hotel  rooms.  There  they  are  confronted  by  a 
reminder  of  her  "past,"  a  sadistic  gentleman  from  whose 
punishment  the  girl  later  flies  for  Mr.  Powell's  protec- 
tion. In  the  ensuing  scuffle  the  stranger  falls  out  of  the 
window.  Mr.  Powell  is  arrested,  tried,  his  story  dis- 
credited because  the  lady  has  disappeared,  and  sentenced 
to  life  imprisonment. 

Escaping,  he  makes  his  way  to  a  Southern  city  where 


he  finds  a  factory  job  which  brings  him  rapid  promotion 
to  an  executive  position.  Trusted,  respected,  bis  love 
for  his  employer's  daughter  encouraged  by  her  father, 
he  will  not  propose  until  he  can  simultaneously  reveal 
his  "past"  and  his  innocence  of  crime.  To  accomplish 
this  he  sends  a  pal  to  search  out  the  girl  who  disap- 
peared, and  offer  her  money  for  an  affidavit  exonerating 
him.  The  girl  hoodwinks  the  pal  and  appears  he  fore 
Mr.  Powell  as  a  blackmailer,  followed  by  a  detective  bent 
on  apprehending  him  as  an  escaped  convict.  How  Mr. 
Powell  circumvents  the  detective  and  destroys  the  only 
means  of  identification  is  something  entirely  new  to  the 
screen.  And  that's  saying  lots.  See  it — and  shiver  with 
horror. 

Marion  Shilling  is  a  charming,  natural  heroine,  Natalie 
Moorhead  is  beautiful  and  relentless  as  the  wicked 
woman,  and  Paul  Hurst  contributes  hearty  comedy  to 
the  role  of  Mr.  Powell's  pal. 

A  Lion  Whose  Roar  Is  Laughter. 
In  little  more  than  a  year  Jack  Oakie  has  clowned  his ' 
way  from  obscurity  to  stardom,  so  let's  say  nothing 
more  about  the  movies  being  overcrowded,  or  that 
chances  only  come  to  Broadway  veterans.  Not  that  Mr. 
Oakie  doesn't  deserve  his  eminence.  Emphatically  be 
does,  for  at  the  outset  he  offered  a  new  personalitv, 
struck  a  new  note  of  comedy,  and  be  has  gained  in  ease 
and  resourcefulness  in  each  effort.     His  is  not  forced 


William  Powell,  Natalie  Moorhead,  and  Richard  Tucker  make  "Shadow  of  the  Law"  the  strongest  picture  of 

the  month. 


The   Screen   in   ReVieW 


69 


Both  in  billing 

ami  perform* 
met     j  .1 1  k 

Oaku-     in      tin- 

■tai    ..i    "Ths 

Social  I .  i  .hi." 
with  M.n  y 
I:  i  I  a  n  a  II  (1 
Olive     Hiniliii. 


stardom,  then,  but  the  logical  progress  of  a  comedian 
with  a  fresh,  engaging  method.  Only  the  speed  with 
which  dizzying  heights  are  scaled  in  the  movies,  occurs 
in  no  other  field  of  endeavor  and  must  always  be  wit- 
sed  with  a  gasp. 

That  gasp  widens  to  a  laugh  in  watching  Mr.  Oakie's 
antics  in  "The  Social  Lion."  the  occasion  of  his  debut 
as  a  star.  It  is  a  consistently  funny  picture,  shrewdly 
put  together  to  evoke  almost  continuous  laughter,  the 
lulls  coming  only  that  the  spectator  may  get  his  second 
wind.  There  are  deft  and  understandable  characteriza- 
tions too,  and  situations  inherently  comic  and  not  made 
to  seem  so  by  reason  of  the  clever  performers  engaged 
in  them.  Richard  Gallagher  is  one  of  these.  He  cap- 
tures first  honors  after  Mr.  Oakie  for  his  dry  wise- 
cracks as  "Chick"  Hathaway,  manager  of  a  small-time 
fighter,  the  latter  reminiscent  of  Mr.  Oakie's  ball  player 
in  "Fast  Company."  Returning  to  his  home  town  in 
the  naive  belief  that  his  triumphs  have  rung  around  the 
world,  he  is  mischievously  exploited  by  a  debutante  and 
is  given  membership  in  the  country  club,  because  of  his 
>  a  polo  player.  Whereupon,  it  is  unneces- 
sary to  add.  Mr.  Oakie  goes  haywire,  outdoing  the  wild- 
idea  of  what  a  member  of  the  smart  set  does  to 
qualify. 

This  is  the  basis  of  a  plot  that,  though  simple,  is 
cleverly  developed  and  brightly  acted  throughout.  Man- 
Brian  is  well  cast  as  the  home-town  telephone  girl  and 
Olive  Borden  characterizes  the  debutante  both  in  ap- 
pearance and  by  means  of  a  voice  that  is  low,  smooth, 
and  distinct.     It  is  one  of  the  n  eable  I  have  lis- 

tened to  on  the  screen.     I  want  to  bear  more  of  it. 

The  Not  So  Gay  '90s. 
"The  Florodora  Girl"  disappoints  those  who  looked 
for  an  exceptional  picture.  To  those  who  see  it  "cold" 
it  will  be  moderately  entertaining.  Even  so,  it  doesn't 
justify  the  costly  production.  It  lacks  continuity  and 
form  and  is  lamentably  overdone.     At  times  amusing,  it 


could  easily  have  been  surpassing  in  every  respect.  Pur- 
porting to  show  New  York  life  as  it  existed  in  the  '90s. 
it  falls  below  and  overshoots  the  mark,  failing  because 
the  detail  is  incorrect  and  because  it  is  played  as  broad 
burlesque. 

It  might  have  been  tenderly  appealing,  the  comedy 
coming  naturally  from  the  comic  costumes  and  unbe- 
lievable goings  on  among  civilized  persons  in  that  distant 
day.  Not  content  with  what  had  been  provided  in  the 
way  of  background,  the  director  and  players  chose  to 
impose  clowning  without  stint.  Incidentally,  the  period 
is  entirely  wrong. 

The  musical  comedy  "Florodora,"  of  whom  the  hero- 
ine is  a  member  of  the  famous  sextet,  was  first  produced 
in  this  country  in  1900.  The  costumes,  however,  and 
much  of  the  detail  hark  back  nearly  ten  years  previous. 
They  are  the  modes  of  1892.  Balloon  sleeves,  tight 
basques,  yards  of  trailing  velvet  and  towering  hats 
perched  at  acute  angles  are  funny,  but  they  never  were 
worn  by  "Florodora"  girls.  So  much  for  the  boasted 
technical  research  that  goes  on  in  the  studios. 

The  story  is  forgotten  in  tin-  course  of  clowning,  and 
when  it  reappears  you  feel  that  it  never  mattered  anyway. 
Yet  it  too  begins  well,  but  is  lost  in  the  welter  of  kid- 
ding. Jusf  as  a  matter  of  record,  let  it  be  said  that 
Marion  Davies  is  Daisy,  engaged  to  marry  Jack,  a  scion 
of  wealth.  His  mother  explains  to  her  that  with  the 
evaporation  of  the  family  fortune  it  is  Jack's  duty  to 
marry  an  heiress  for  the  sake  of  his  little  sjst,  • 
Daisy,  even  as  Camillc.  tells  Jack  that  she  "hates"  him 
and  stages  a  scene  with  another  suitor  to  prove  it.  A 
long  time  later  Jack,  suddenly  rich  again,  claims  Daisy 
for  bis  own  and  drives  away  from  the  theater  with  her 
in  her  stai;e  costume. 

Mis,  Davies*  performance  is  perfect.  She  is  the  vapid, 
confused,  very  feminine  show  girl  of  a  pasf  generation. 
Lawrence  Gray  is  all  right  as  the  young  man.  Before 
I  forget  it.  the  undying  "Tell  Me.  Pretty  Maiden"  num- 
ber of   "PfoTodora"   is   superbly   recreated.     You   have 


70 


The  Screen  in  ReViev? 


Iw 

V:"^fl 

I 

wb^^ 

*, 

^si 

< 

"Rough   Romance." 


''Safety  in  Numbers. 


"Caught    Short." 


seen  the  original  that  took  the  world  by  storm  when  you  see  this. 
Except  that  the  dresses  are  not  those  worn  by  the  girls  who  went 
down  in  history  as  millionaires'  brides. 

A  Misused  Lady. 

Any  appearance  of  Ruth  Chatterton  is  interesting  because  of  her 
great  and  deserved  popularity,  but  "The  Lady  of  Scandal"  does 
not  present  her  at  her  best.  Through  no  fault  of  hers  the  picture 
is  tedious,  a  tired  effort  on  the  part  of  Frederick  Lonsdale  from 
whose  play,  "The  High  Road."  it  is  adapted.  The  fatigue  and  the 
uninspired  quality  of  the  original  are  preserved  with  unusual  fidel- 
ity .  This  is  enhanced  by  the  efforts  of  the  camera  man  to  emphasize 
Miss  Chatterton's  plainness.  It  is  as  if  one  of  those  subtle  studio 
feuds  were  going  on,  aided  and  abetted  by  whoever  chose  Miss 
Chatterton's  dresses  which,  except  in  the  music-hall  scenes,  are 
far  from  becoming.     However,  to  our  muttons. 

The  tarnished  gem  of  a  plot  concerns  an  actress  whose  engage- 
ment to  a  youth  of  noble  blood  arouses  the  hostility  of  his  family. 
not  because  she  is,  as  the  title  falsely  informs  us,  a  lady  of  scandal, 
but  because  she  appears  on  the  stage  in  a  sedate  musical  number. 
Treated  rudely,  according  to  the  best  traditions  of  protesting  fam- 
ilies on  the  screen,  she  finds  a  sympathetic  oasis  in  the  elder  brother 
of  her  fiance  and  acquiesces  to  the  suggestion  of  the  head  of  the 
family  to  abandon  temporarily  her  unseemly  career  and  remain 
with  them  for  a  few  months,  this  musty  situation  recalling  Norma 
Shearer's  "The  Actress"  nee  "Trelawney  of  the  Wells."  It  is 
hardly  necessary  to  say  that  she  livens  things  up.  Her  prospective 
father-in-law  succumbs  to  jazz  and  an  older  gentleman  contracts 
the  cocktail  habit.  Meanwhile  the  elder  brother  has  fallen  in  love 
with  the  actress  and  she  with  him,  notwithstanding  the  liaison  he 
has  been  carrying  on  for  years  with  the  wife  of  the  usual  invalid 
husband.  Suddenly  comes  word  that  the  invalid  is  dead,  and  the 
actress  concludes  that  the  duty  of  the  man  she  loves  is  to  the  widow. 
Sacrifiss!  Last  scene  of  all  finds  her  in  black  net  singing  "Say  It 
With  a  Smile"  to  her  public. 

All  this  is  set  forth  in  the  high-comedy  drawing-room  manner, 
which  is  to  say  that  the  English  accent  is  rampant.  Every  one  is  so 
intent  on  acting  as  if  he  were  uttering  epigrams  that  no  one  seems 
really  to  care  about  any  one  else,  least  of  all  Miss  Chatterton  and 
Basil  Rathbone,  who,  supposedly  in  love,  indicate  to  the  observer 
that  personal  differences  may  have  existed.  Their  love-making  is 
toleration  more  than  heart  interest.  However,  it  may  be  nothing 
more  strained  than  drawing-room  technique.  Ralph  Forbes,  Nance 
O'Neil,  Herbert  Bunston.  Frederick  Kerr,  and  Cyril  Chadwick 
acquit  themselves  well.     In  fact,  so  does  every  one;  but — oh,  pshaw! 

Bleak  House. 

It  is  sad  to  relate  that  Lillian  Gish's  long-delayed  appearance  on 
the  talking  screen  might  just  as  well  have  not  taken  place  for  all 
the  satisfaction  one  derives  from  "One  Romantic  Night."  Monot- 
onously the  picture  tells  a  story  that  could  easily  have  been  left 
untold,  because  there  is  little  interest,  warmth,  or  sympathy  in  it. 
Why  this  is  so  I  cannot  say.  On  the  stage  "The  Swan,"  from 
which  it  was  adapted,  was  called  brilliant.  Where  the  dialogue  has 
gone  perhaps  only  the  writer  of  new  lines  can  say.  Certainly  the 
acting  falls  far  short  of  atoning  for  the  lackluster  story.  It  reminds 
me  of  parlor  theatricals,  or  the  annual  travail  of  the  church  dra- 
matic society,  played  at  a  safe  tempo  for  those  who  can't  remember 
their  lines.  Miss  Gish  suggests  Princess  Alexandra  without  being 
her,  but  Rod  La  Rocque  succeeds  even  less  in  making  Prince  Albert 
anything  but  a  self-conscious  drawler.  and  Conrad  Nagel  is  unin- 
teresting as  Doctor  Jlallcr,  the  tutor.  This  trio  is  brought  together 
by  the  order  of  Albert's  father  to  woo  Alexandra.  They  meet  ir* 
the  stiff  ceremonials  of  petty  royalty,  and  Albert  is  bored.  Not 
until  he  is  left  alone  with  Alexandra  does  he  realize'  that  she  is  a 
charming,  unpretentious  girl,  and  at  a  dance  in  his  honor  he  becomes 
jealous  of  her  preference  for  her  brothers'  tutor.  In  the  end  the 
two  royalties  defy  convention  and  elope. 

Were  it  not  for  Miss  Gish's  contribution  of  some  of  the  screen's 
most  notable  acting,  she  might  he  an  unknown  amateur.  Her  per- 
formance is  colorless,  dull,  and  her  voice  commonplace.  Even 
Marie  Dressier,  who  has  saved  pictures  with  her  vigorous  drollerv. 


The   Screen   in   ReVievv> 


71 


is  out  of  place  as  Alexandras  domineering  mother,  and  her  comedy 
is  neither  amusing  nor  believable.  O.  P.  rleggie,  as  Fathet  Bene- 
dict, guide,  counselor  and  uncle  oi  Alexa  the  most  convinc- 
ing member  of  the  cast,  but  his  burden  is  too  heavy  and  his  role 
subordinate  to  relievo  the  dreariness  that  overwhelms  the  others. 

So  This   Is   Spanish. 

After  having  established  himself  triumphantly  as  a  singing  actor 
of  skill  and  great  charm,  all  should  be  smooth  sailing  for  Ramon 
LITO.  But  such  is  not  his  happy  lot.  To  realize  this  one  has 
only  to  witness  the  burden  of  "In  (.lay  Madrid,"  which  he  shoul- 
ders gayly,  insouciantly — and  ;u  vain.  All  the  Icing's  horses  and 
all  the  king's  men  cannot  relieve  its  dullness  nor  lift  it  out  of  the 
kindergarten  class.  Moreover,  Mr.  Xovarro  receives  little  aid  from 
his  cast.  Instead,  some  of  the  members  blandly  contribute  the 
St  acting  oi  the  month,  with  the  seriousness  of  amateurs  under 
the  delusion  of  contributing  to  art.  Indeed,  there  are  moments 
when  you  think  they  are  burlesquing  their  roles,  but  one  look  at 
their  earnest  strivings  and  you  realize  they  are  only  self-deluded. 

Their  ringleader  is  Lottice  Howell,  a  prima  donna  whose  first 
apiK-arance  on  the  screen  puts  her  at  the  head  of  the  class  of  stage 
recruits  whose  overacting  is  comic  aiul  whose  singing  causes  the 
hearer  to  wonder  why  it  should  he.  Herbert  Scott  and  David  Scott. 
who  happily  do  not  sing,  make  up  for  it  by  acting  for  all  they're 
worth.  Beside  this  trio  the  slender  gifts  of  Dorothy  Jordan  fairly 
shine,  hecause  they  are  subdued.  However.  Miss  Jordan  has  quite 
enough  to  say  to  drive  home  the  fact  that  her  voice  is  at  odds  with 
her  ethereal  appearance  and  her  place  is  in  silent  pictures. 

The  picture  is  a  Spanish  version  of  collegiate  capers.  Only  a  few- 
scenes  transpire  in   Madrid  and  the  gayety,  so-called,  takes  place 

>?ntia|  -o  that  even  the  title  is  misleading.  Mr.  Xovarro,  so 
far  as  I  could  make  out.  is  Ricardo,  a  young  blade  enamored  of  a 
cabaret  singer.  His  father  forces  him  to  leave  Madrid  for  a  dull 
university  town,  where  he  encounters  the  heavily  chaperoned  daugh- 
ter of  his  father's  friend.  An  interminable  flirtation  starts  and  is 
kept  going  with  a  maximum  of  coyness  until  the  girl's  engagement 
tc  Ricardo  is  announced.  Then  the  caharet  singer  reappears,  her 
presence  in  Ricardo's  rooms  is  clumsily  discovered  by  a  jealous  rival 
and  there  is  a  flare  up.  Of  course  all  ends  peacefully.  Mr.  Xovar- 
ro's  performance  is  smooth  and  graceful. 

Sugar-coated. 

One  often  wonders  when  the  "nice"  names  for  certain  romantic 
ladies  frequently  portrayed  on  the  screen  will  come  into  such  gen- 
eral use  that  the  censors  will  demand  still  another  evasion  in  order 
to  protect  the  audiences  that  they  assume  to  be  dumh  but  pure.  In 
"Ladies  of  Leisure"  our  heroine  is  merely  a  "party  girl"  who  will 
"date  up"  any  man  who  telephones,  particularly  if  the  voice  has  a 
ring  of  financial  success  in  it.  Leaving  a  party  on  a  boat  and 
swimming  ashore,  because  some  jolly  old  chap  got  rough,  the  girl  is 
picked  up  by  a  typical  hero  of  Purilia,  or  Movieland,  on  whose 
shoulder  she  sleeps — after  stealing  his  wallet.  Then  comes  love, 
hostility  of  the  boy's  mother,  attempted  suicide,  and  reconciliation. 
Frightfully  original  plot.  this. 

Barbara  Stanwyck  gives  a  good  performance,  however,  con- 
sidering the  story.  Her  best  scene  is  with  Nance  O'Neil,  as  the 
boy's  mother.  Lowell  Sherman  is  a  very  amusing  old  soak  who 
to  carry  the  girl  off  to  Cuba.  To  avoid  "a  fate  worse  than 
death"  Ruby  blithely  leaps  overboard,  hut  is  fished  out  and  par- 
tially dried  before  the  hero  arrives  to  make  it  all  right.  Ralph 
Graves'  face  has  the  same  expression,  whether  tiptoeing  up  his 
studio  stair<  to  put  a  coverlet  on  the  sleeping  model,  or  grumbling 
about  the  breakfast  eggs.  Marie  Prevost  is  delightful  in  some  of 
her  scenes. 

Shore  Leave. 
a  mildly  mischievous  soda-counter  jumper  who  leads  the  whole 
navy  on  just  to  help  her  boss  sell  stale  chocolates.  Clara  Bow,  in 
"True  to  the  Xavy,"  will  be  amusing  to  her  many  followers  and 
to  those  who  take  their  films  lightly.  She  is  the  same  attractive 
and  lively  figure,  but  her  lin>  >  amateurish   for  comfort  at 

Continued    or. 


"The    Bad   One." 


'So  This  Is  London." 


1 

r     *^m 

1 

* **                ^H 

4*  •      ^ 

^ 

v<n 

'In    Gay    Madrid.' 


Lady    of    Scandal. 


72 


c^V, 


'That 


Fantasies  of  the  Far  East 


Whoops,  o  1  d 
dcali,  Fifi  Dor- 
say,  left,  is  an 
East  Indian,  or 
maybe  it's  an 
Egyptian. 


Even   Anita  Page,   right, 

coyly     does     a     Nautch 

dance. 


Get  hot,  baby, 
get  hot  —  but 
Alice  White, 
above,  is  already 
in  an  Algerian 
dancer's  togs. 


Marguerite 
Churchill,  left, 
plays  the  Rur- 
m  e  s  e  dancing 
girl  with  the 
same  ease  that 
she  does  a  dra- 
matic   role. 


otta   Monti, 
right,  interprets 

the   whimsies  of 

thi    I  Irient  with 

distinction. 


73 


Oriental  Jazz 


occasionally  seize  the  screen  players 


He's  Here  to  Stay 

Nils  Asther,  handicapped  by  a   Swedish  accent,  is   striving  valiantly  to  conquer  it  and  has  taken  steps 

to  become  an  American  citizen. 

B)?  Madeline  Glass 


II    you  weren't  an  actor,  Nils,"  I  asked,  "what  would 
you  be?" 
"An  actor."  he  replied  promptly. 

Now! 

"Bui  perhaps  if  J  had  to  choose  some  other  profes- 
sion," he  amended,  noting  my  disconcerted  expression, 
"I  would  be  a  doctor." 

It  is  fortunate,  perhaps,  that  Nils  is  not  a  doctor.  If 
he  were,  it  would  be  another  case  of  "I  don't  want  to 
gi  t  well."  But  an  actor  he  is,  and  an  actor  he  will 
remain.  Mad  the  advent  of  talking  pictures,  that  bete 
noire  of  the  foreign  player,  not  impeded  his  progress 
this  talented  Swede  should  to-day  be  one  of  the  foremost 
stars.  As  matters  stand,  his  strong  accent  checked  his 
career,  but  by  no  means  ended  it. 

Nils  is  now  practically  an  American,  and  during  the 
past  year  has  made  a  determined  effort  to  mas- 
ter our  language.  The  result  is  very  satisfac- 
tory. He  can  now  say,  "My  car  needs  a  bath," 
a-  plainly  as  you  or  I.  He  can  also  say  other 
things,  as  you  shall  presently  see. 

Because  of  his  love  of  seclusion,  it  almost 
requires  an  order  from  the  chief  of  police  to 
make  him  come  across  with  an  interview,  but 
when    that    is    finally    accomplished,    he    is    as 
affable    and    charming    as    it    is    possible    to 
imagine.     His  courtesy  is  exquisite ;  his  poise 
i>  an  example  in  social  cultivation.     Re- 
cently during  luncheon  with  him  he  was 
called  from  the  table  and  served  with  a 
warrant,  the  result  of  misplaced  faith  in 
a  dishonest  man.     The  summons  meant 
court  action,  also  a  large  outlay  of  money 
for    Xils,    and    I    know    he    felt    the   be- 
trayal keenly.     Yet  he  gave  no  hint  of 
annoyance  or   resentment ;   not   so  much 
as  a  shadow  crossed  his  face.     Actually, 
judging    from    our    individual    reactions, 
one  would   have  thought  that  /  bad  re- 
ceived the  warrant. 

Xils  recently  finished  a  role  in  "The  Sea 
Hit."  In  this  he  is  intrusted  with  his  first 
speaking  part  and  his  agreeable  baritone  re- 
Is  very  favorably.  Unfortunately,  his 
part  is  brief  and  tragic,  and  there  are  so 
many  accents,  both  real  and  assumed  in  the 
film,  that  the  dialogue  sounds  like  a  conven- 
tion of  the  League  of  Nations.  Every  mem- 
ber of  the  cast,  with  the  exception  of  Charles 
Bickford,  Speaks  in  dialect.  However,  Nils 
is  now  considering  offers  from  three  studios, 
so  we  can  expect  soon  to  see  him  cast  in  a 
worthier  role. 

Xils  himself  docs  not  consider  that  he  has 
done  anything  of  importance  since  coming  to 
America,  although  he  is  rather  pleased  with 
his  work  in  "Sorrell  and  Son."  lie  should 
be.  But  such  roles  as  the  elegant  prince  in 
"The  Cossacks"  and  the  decadent  count  in 
"Laugh.  Clown,  Laugh."  he  dismisses  as  of 
no  consequence. 


Nils  Asther  says 
he  has  done  noth- 
ing important  on 
the  screen. 


"In  them,"  he  tells  you  deprecatingly,  "I  had  to  wear 
make-up  and  look  well.  That  is  not  acting.  I  should 
like  to  play  character  parts,  wear  beards — that  sort  of 
thing." 

Where  does  he  get  that  morbid  notion  that  he  should 
be  disfigured  by  a  beard?  It  makes  one  want  to  shake 
him. 

"In  Europe,"  says  Nils,  "there  is  no  such  thing  as  a 
good  part  or  a  poor  part ;  there  one  is  a  good  actor  or  a 
poor  actor." 

But  does  this  not  contradict  his  previous  assertion  that 
his  American  roles  have  not  been  worth  while?  Since 
he  is  not  here  to  politely  disagree  with  me  I  shall  repeat, 
with  emphasis,  that  his  screen  portraits  since  coming 
here  have  invariably  been  interesting,  colorful,  and  splen- 
didly executed. 

Mr.  Asther  has  great  admiration  for  John 
Gilbert,  and  speaks  highly  of  his  work.  He 
thinks,  as  do  many  others,  that  Gilbert  will 
overcome  his  voice  difficulties  and  go  to  greater 
glory  than  he  previously  knew. 

Last  spring  Nils  made  a  two-week  personal- 
appearance  tour  in  Chicago  and  Detroit.  He 
accepted  the  offer  reluctantly,  doubting  that  it 
would  be  a  success.  He  opened  in  Chicago 
during  the  last  week  of  Lent ;  the  weather  was 
unusually  bad,  and  Nils  had  visions  of  himself 
appearing  before  meager  audiences,  but  to  his 
surprise  the  house  was  sold  out  at  every  per- 
formance. The  warm  reception  given  him  each 
time  he  appeared  quite  thawed  his  cool  Swedish 
dignity. 

"One  night,"  said  he,  "I  took  several  bows, 
and  then  waited  in  the  wings  to  see  if  I  would 
be  called  again.  But  the  applause  died  down, 
and  I  went  back  stage  to  meet  some  people  who 
wanted  my  autograph."  (He  called  it  mono- 
gram.) "Soon  the  stage  manager  came  rush- 
ing up  and  said,  'They  are  calling  for  you, 
come  quick.'  But  I  did  not  believe  him.  At 
last  I  went  to  see  for  myself,  and  then  I  could 
hear  them  saying  my  name.  The  picture  had 
been  thrown  on  the  screen,  but  still  they  were 
applauding.  They  raised  the  screen,  and  I 
went  behind  the  curtain  and  came  up  under  it, 
lifting  it  over  my  head — so." 

Xils  was  very  much  afraid  the  audiences 
would  not  understand  his  English,  but  when 
they  laughed  in  the  right  places  be  felt  re- 
assured. 

Some  time  ago  he  went  to  visit  friends  in 
Mexico  City,  and  while  there  was  entertained 
>v    the    Swedish    consul    and    officials    of    the 
Mexican  government.     When  members  of  the 
press  began  coming  to  see  him  he  moved  to  a 
small  suite  in  a  hotel,  as  he  did  not  wish  to  turn 
his  friend's  home  into  an  office.     After 
unpacking  he  went  out  for  a  few  hours 
and    returned   to   find   that   he  had  been 
moved  to  the  best  suite,  a  five-room  apart- 
ment. [Continued  on  page  110] 


75 


For  all  his  experience  in 
this  country.  Nils  Astber  has 
not  parted  with  his  Swedish 
reticence  and  the  necessity 
for  solitude  by  the  sea.  But 
once  he  is  persuaded  to  talk, 
he  is  affable  and  charming, 
without,  however,  losing  his 
inherent  reserve.  In  Made- 
line Glass'  story,  opposite, 
these  qualities  are  sympa- 
thetically   brought   out. 


PkM*  by  Ruth  Hanlrt  Lool.t 


70 


"Monte  Carlo" 

All    the    glamour    and    worldly 

romance    of    the    famous    resort 

inspire    the    title    of    Lubitsch's 

new  musical  film. 


Jeanette  MacDonald,  above,  as  Countess  Vera, 
who  has  run  away  on  the  eve  of  her  marriage 
to  a  rich  prince,  makes  a  play  for  the  fortune 
she  lost  in  refusing  to  wed  a  man  she  abhorred. 
And  she  wins,  only  to  lose  it  in  the  next  few 
minutes. 

Miss  MacDonald,  left,  is  happy  in  her  discovery 
of  the  ideal  hairdresser,  who  is  Jack  Buchanan, 
as  Count  Rudolph,  with  not  only  plenty  of 
money,  but  numerous  tuneful  songs  for  the 
asking.  In  his  suit  for  the  hand  of  Vera  he 
gives  lavishly  of  both,  and  after  the  customary 
tiffs  and  misunderstandings  they  are  united  in 
what  has  come  to  be  known  as  love  in  musical 
comedy. 


Mi>s  Ferguson,  at  top  of  page,  is  a  lawyer  who  is 
persuaded  by  Grant  Withers  and  Charlotte  Walker  to 
defend  Marian  Nixon,  center.  Mi-;  Ferguson,  above, 
confers  with  John  Halliday,  as  the  district  attorney, 
and,    right,    she    faces    a    critical    moment    in    the    trial 


78 


The  Heart  of 

Greta  Garbo  bares  it,  with  the  tears 


Greta  Garbo,  at  top  of  page,  as  Rita  Cavallim. 
an  opera  singer,  meets  for  the  first  time  Gavin 
Gordon,  as  Tom  Armstrong,  a  young  clergyman 
at  a  reception  given  by  Cornelius  van  Tuyl,  Tom's 
patron  and  Rita's  secret  lover.  It  is  love  at  first 
sight  for  the  singer  and  the  unsophisticated  youth. 


Rita,  left,  is  taken  to  task  by  Clara  Blandick,  as 
Miss  Armstrong,  for  fascinating  her  brother  Tom. 


7') 


of  self-sacrificing  love,  in  "Romance 


Greta  Garbo,  at  top  of  page,  as  Rita,  makes  her 
great  decision.  She  will  not  marry  Tom  Arm- 
strong and  ruin  his  career,  and  she  will  tell  Van 
Tuyl  that  all  is  over  between  them.  What  the 
future  will  then  hold  for  her,  she  does  not  know; 
but  at  least  she  will  have  made  the  supreme 
sacrifice   for  her  great   love. 


Rita,  right,  tell>  Lewis  Stone,  as  Van  Tuyl,  what 

she  means  to  do,  and  while  he  sympathizes  with 

her.  he  is  still  hopeful  that   she  will  let  him  take 

her  to  their  villa  on  the   Riviera. 


nV  \  2 


80 


Pity  the  Poor 

But  don't  shed  all  your  tears,  for 
"Our  Blushing 


Joan  Crawford,  at  top  of  page,  as  Geral- 
dine,  a  department-store  model,  is  affronted 
by  the  intrusion  of  Robert  Montgomery,  as 
the  owner's  son,  in  her  dressing  room. 
Aren't   men   terrible,   really? 


\fiss  Crawford,  left,  wears  many  wonderful 
creations  in  the  course  of  her  work  as 
model,  and  the  enraptured  customers  little 
dream  that  her  troubles  are  far  greater 
than  their  own.  Not  only  is  she  pursued 
by  a  male,  but  her  two  chums  are  victims 
of  masculine   duplicity. 


81 


Working  Girl 

she  marries  the  millionaire's  son  in 
Brides." 


Joan  Crawford,  at  top  of  page,  as  Geral- 
dint.  between  moments  in  the  magnificent 
fashion  show  at  a  country  house,  listens  to 
the  arguments  of  Robert  Montgomery,  as 
Tony  Jardine,  in  the  name  of  love. 


Crawford,  right,  breaks  to  Anita 
Page,  as  Connie,  the  sad  news  that  she  has 
misplaced  her  trust  in  David,  the  younger 
brother  of  Tony,  for  he  is  to  marry.  a~ 
usual,  a  girl  in  his  own  set  On  hearing 
this  confirmed  by  radio  broadcast,  Connie 
takes  poison,  and  out  of  the  ensuing  excite- 
ment pure  love  somehow  unites  Geralditw 
and    Tony 


82 


Pancho  Lopes,   at   top  of   page,   interferes 
with  the  affair  of  James  Rennie,  as  Gilbert 
Jones,  and  Dorothy  Revier,  as  Mrs.  Mor- 
gan  Pell. 

Poncho  offers  Mr.  Huston  a  highly  con- 
genial role,  a  genuine  character  study  of  a 
bandit  chief  whose  high-handed,  but  good- 
humored  interference,  finally  results  in  his 
death  at  the  end  of  what  he  mutters  is 
"ze  most  quiet  day  I  haf  spent  in  years." 

Mr.  Huston,  in  the  doorway,  left,  confronts 
Sidney   Blackmer,   as   Morgan  Pell. 


83 


The   BouleVard 
Directory 

The  first  of  a  series  of  little  jour- 
neys   to    shops    and    marts    where 
stars     gratify     tastes     the     public 
knows   little  about. 

B)>  Margaret  Reid 

TEN  years  ago  if  you  nient 
art  in  Hollywood,  it  was  taken 
for  granted  that  you  referred 

to  the  current  movie.  Any  other  in- 
terpretation v  gibberish.  Daubs 
on  canvas — what  kind  of  art  was  that, 
when  you  could  have  pictures  that 
moved,  and  covered  ten  thousand   feet 

of  film? 

v.  no  longer  entirely  movie- 
bound.  Hollywood  is  acquiring  bal- 
ance— a  realization  of  int<  utside 

\n  immediate  province.  Gradual 
adjustment  >.>i  youngsters  without 
, round  to  the  fabulous  riches 
poured  into  their  laps  has  had  some- 
thing to  do  with  it.  They  are  learn- 
■r  lasting  pleasure  rather 
than  for  a  kick.  Another  factor  is  the 
steady  influx  oi  a  higher  type  of  player 

the  mo\ 
^  Witness  the  success  of  the  Braxton 
Gallery,  a  small,  extremely  smart  shop 

e  the  best  of  modern  art   ;- 
fered.      Harry    Braxton,    husband    of 
"'ore.  scenario  writer 
and  novt  an  art  dealer  in  New 

York.    1 '  -t  dealers  waste  away 

and  die  when  removed  from  the  Mes- 
trovics  and  Gauguins  that  nurture  their 
ened  a  shop  shortly  after 
his   arrival    in    Hollywood.      Busini 
me:  dismal  heads  over  the  venture — the  young 

man  wasn't  right  in  his  mind.  Paintings  and  statues! 
\\  hat  Hollywood  wanted  was  more  emporiums  dealing 
in  automobiles  and  diamonds. 

On  Vine  Street,  a  few  doors  south  of  Hollvwood 
Boulevard  and  next  to  the  Brown  Derby  Restaurant. 
the  Braxton  Gallery  presents  its  ultramodern  facade  in 
white  plaster,  black  patent-leather  awnings  and  angled 
glass.  Narrow  and  unassuming  in  that  sly,  expensive 
manner,  it  invites  the  discriminating  and  delights  the 
connoisseur.  The  fore  part  of  the  shop  is  ultramodern. 
and  contains  skillfully  arranged  pictures  and  sculpture. 
A  triangular  glass  case  holds  a  few  unusual  bits 
jewelry — chalcedony,  carnelian.  jade. 

But  it  is  in  the  rear  of  the  shop  that  real  business 
takes  place.  A  large,  bare  room,  uncarpeted.  with  severe 
wall  ig  table,  a  bench,  a  few  low,  deep  chairs,  and 

plentiful  ash  trays  and  cigarette  boxes  are  for  the  com- 
fort of  the   clientele  who   shop  discerningly   and    with 
acute  enjoyment.     It  is  here  that  the  pictures  one  wishes 
to  see  are  displayed  in  every  light,  on  the  floor  or  I 
that  sculpture  is  subjected  to  perambulating  examination. 

Business  is  conducted  in  leisurely,  chatty  fashion. 
Purcha-e-  are  not  openly  encouraged.  Sometimes  if  the 
object  happens  to  be  one  to  which  Mr.  Braxton  is  par- 


Roland  Young,  a  regular  patron  of  the  Braxton  Gallery,  is  ever  on  a  hunt  for 
any  form  of  art  having  to  do  with  penguins. 


ticularly   devoted,   the   sale   is   even   dis  I.      His 

feeling  for  the  things  he  selects  with  unerring  tasti 
deep.     His  day  is  ruined  if  he  is   forced  to  sell   a 
Van  Gogh  to  some  one  who  would  just  a-  readily  buy 
a  good  Maxfield  Parrish.    A  leisure  half  hour  inevitably 
suggests   Braxton's.      For  those  who  like  to  sit  an: 
Cezannes,    Brancusis.   and    such — whether   or   not    they 
are  purchasers — there  is  open  d  the  rear  gallery. 

Frequently  there  is  tea.  prepared  by  Ruth  Swinnerton, 
Braxton's   sloe-eyed   and   charming  assistant.      Gath< 
in  animated  discussion  are  faces  intimately  familiar  on 
the  screen,  together  with  unidentifu  rs  who  are 

art  collectors  or  indigent  ar;: 

The  movie  clientele  of  Braxton  a  co\  radically, 

just  about  all  the  colony.     There  is  the  famous 
dienne  who  buys  as  an  investment,  and   wl 
in  reselling  to  private  collect":-.     Thei 
star  who  came  in  asking  for  a  good  Indian  picture  and 
who  to  purchase  a  Matisse  original,  al- 

though not  knowing  why.  1  'it  and  has 

ardent  ith  inherent  instinct 

for  the  best.    There  is  the  wealtl  ho, 

mid-Victorian  u  and  thought,  buys  the  n 

•  and  most  a  if  Kandiskys,  II 

Cunt: 


S4 


Farevtell  To  Tkree  Bad  Ones 

The  reign  of  that  triumvirate   of  terrors,  the   gag   man,  megaphone  wielder  and  the  title  writer,  ended 
with    the    coming    of    the    talkies,    and    the    result    is    saner    pictures. 


B>>  H,  A.  Woodmansee 


Illustrated  by  fLui  '-Qrugo 


\\\Y.  reign  of   terror  is  ending;  the  upheaval  and 
chaos  ushered  in  by  the  change  to  talkies  is  giving 


T1 


place  to  comparative  order.  Voice  reproduction 
no  longer  sounds  like  somebody  with  a  cold  in  the  head 
hollering  down  a  well.  That  horror,  the  part-talking 
picture,  is  being  hurried  to  the  museum  to  join  the  first 
horseless  carriage  and  Darius  Green's  flying  machine. 
The  camera-man  is  once  again  getting  a  chance  to  give 
a  good  account  of  himself,  and  the  audible  films  no 
longer  talk  merely  for  the  sake  of  talking,  but  occasion- 
ally they  really  say  something. 

The  struggle  for  survival  in  Hollywood  is  beginning 
to  look  less  like  the  World  War  and  more  like  the  cus- 
tomary guerrilla  warfare.  The  stars  who  were  born  to 
be  seen  and  not  heard,  or  heard  and  not  seen,  have  made 
heroic  last  stands,  and  are  quietly  dropping  out  of  sight. 
The  talkie  revolution  is  burying  its  dead. 

The  dear  departed  days  of  the  voiceless  era  have  al- 
ready slipped  far  enough  into  the  past  td  drape  them- 
selves in  a  little  romantic  glamour.  When,  for  instance, 
a  misguided  dialogue  writer  puts  a  cold  pack  on  a  warm 
love  scene  by  cramming  it  with  meaningless  words,  we 
imagine  that  it  would  have  been  done  to  perfection  a 
few  years  ago.    Which  proves  how  quickly  we  forget. 

The  brutal  truth  of  the  matter  is  that  the  overgabby 
love  scene  of  to-day  would  have  been  gagged  and  titled 
to  death  two  or  three  years  ago.  The  hero,  in  the  midst 
of  his  proposal,  would  have  broken  his  garters,  or  sat 
down  on  a  pincushion.  The  lovers  would  have  swapped 
titular  wise  cracks. 

Those  were  the  mad,  merry  days  of  "anything  to  get 
a  laugh."  The  screen  was  overwhelmed  with  a  brand 
of  humor  which  had  originated  in  the  two-reel  comedy 
studios,  and  had  been  carried  triumphantly  to  feature 
pictures  by  Harold  Lloyd  and  Buster  Keaton.  Every- 
body was  trying  to  do  it. 


and  the  results  ranged 
from  the  cleverness  and 
finesse  of  the  Lloyd  prod- 
uct to  the  dull  stupidity 
of  Poverty  Row  slap- 
stick. 

The  ringleaders  in  this 
florid  period  were  a  tri- 
umvirate, the  gag  man, 
the  director,  and  the 
wise-cracking  title  writer, 
and  an  "Unholy  Tl 
they  often  proved  to  be. 
With  their  sometimes 
clever,  sometimes  cuckoo 
efforts,    they    made    pic- 


Many    and    furious    were    the 
flippant  gentlemen 


tures  and  ruined  them.  They  had  one  god,  laughter, 
and  they  usually  sacrificed  all  other  values  to  it,  and 
frequently  without  avail. 

They  were  a  priceless  trio  who,  for  a  time,  had  the 
film  world  by  the  tonsils.  The  coming  of  the  talkie  era 
made  serious  inroads  on  their  power  and,  in  most  studios, 
relegated  their  peculiar  system  of  team  play  to  the  past. 
Probably  it  is  all  for  the  best.  But  the  strange  racket 
in  which  they  were  the  dominant  figures  deserves  a  word 
or  two  in  passing. 

Those  days  of  fun  at  any  cost  were  pretty  hard  on 
many  actors.  They  were  soft,  it  is  true,  for  many  a 
two-reel  comic  who  had  never  dreamed  that  slapstick 
training  would  lead  to  stardom.  But  for  the  character 
actor,  the  juvenile  and  the  ingenue  with  no  inclination 
toward  broad  comedy,  they  meant  working  under  a 
severe  handicap.  A  girl  who  played  opposite  a  comedian 
got  no  chance  to  act.  She  was  a  stock  figure  inserted 
merely  for  decoration.  She  might  as  well  have  been 
appearing  in  a  Western,  or  a  bathing-beauty  frolic.  She 
was  buried  in  a  train  of  comic  mishaps  with  which  she 
was  out  of  key. 

Stars  and  directors  who  had  made  names  for  them- 
selves in  romantic  and  dramatic  stories  became  funny 
to  be  in  style.  Sometimes  the  powers  above  forced  them 
into  the  mold  which  didn't  fit,  to  satisfy  the  public  de- 
mand for  comedy,  and  sometimes  the  players  themselves 
were  eager  to  go  comic  at  all  costs.  That's  where  the 
rub  came. 

Stars  who  once  scorned  low  comedy  learned  new 
tricks.  They  took  falls,  drove  crazily  through  traffic, 
were  hit  with  mud  and  vases,  and  sat  down  on  hot 
stoves.  They  were  locked  in  rooms  with  gorillas  and 
lions.  They  were  deprived  of  their  clothes,  and  fran- 
tically sought  hiding  places.     They  had  strange  babies 

and    stranger    compli- 

battles    between    stars    and    the  cations     thrust     upon 

who  titled  silent  films.  them.       No    one    was 

immune. 

One  recalls  such 
things  as  William 
Powell  dueling  with 
Bebe  Daniels  and  re- 
ceiving sword  thrusts 
in  the  seat' of  his  trou- 
sers, and  Man-  Pick- 
ford  being  crowned 
with  bricks  and  flower- 
pots in  a  battle  with 
hoodlums.  Colleen 
Moore  suffered  about 
every    mishap    within 


Farewell  To  Three  Bad  Ones 


s;> 


the  rang  ipstick,  and  many  other  romantic  hei 

and   heroines  were  not    far  behind  her. 

Excellent  character  actors.  Mich  as  Wallace  Beery  ami 
Raymond  I  latum,  became  impossible  buffoons.  Karl 
Dane  and  George  K.  Arthur,  who  had  scored  in  very 
human  roles,  also  became  a  team  of  nnt  comics.  Even 
clever  light-comedians,  such  as  Raymond  Griffith,  could 
not  let  well  enough  alone,  hut  went  in  for  outlandish 
horseplay.  Nearly  everybody  was  influenced  by  the 
prevailing  craze  tor  broad  comedy.  Even  an  actor  who 
played  a  part  naturally  was  apt  to  find  that  the  title 
writer  had  put  some  wisecrack  into  his  mouth  which 
ruined  the  sincerity  of  his  performance. 

There  were  many  hot  battles  between  stars  and  the 

flippant    gentlemen    who    wrote    the    titles.      A    tender 

ition    between    lovers    might,     for    instance,    be 

•rded  in  this  fashion  :   "Who  was  that  lady  1  saw  you 

with  last   night ?"      "That  wasn't   a   lady,   that   was   my 

etary." 

The  idea  was  that  if  anybody  in  the  audience  laughed 
at  the  titles,  they  were  perfectly  justified.  Anything 
for  a  laugh!  Hew  to  the  line,  and  let  the  actors  fall 
where  they  may ! 

What  those  three  musketeers  of  comedy — gag  man, 
megaphone  wielder.  and  title  writer — often  got  away 
with  was  nothing  short  of  murder. 

ompany  would,  for  instance,  buy  the  screen 
rights  to  a  popular  story  or  play  which  was  a  compound 
of  pathos  and  subtle  humor.  A  scenario  writer  would 
grind  out  an  adaptation  which  would  be  handed  to  the 
dired  oot. 

The  director,  who  very  likely  had  graduated  from 
prop  man  in  a  slapstick  studio  to  his  present  magnifi- 
cence, w  mid  perhaps  not  even  read  the  script.  In  the 
back  of  his  head  was  often  the  firm  conviction  that  all 
writers  are  an  impractical  lot  who  know  nothing  about 
making  pictures.  So  he  would  call  his  gag  men  together 
and  prepare  to  write  his  own  story.  Somebody  would 
read  the  script  and  tell  the  others  who  couldn't  read. 
Thev  would  accept  the  basic  the  original  story — 

the  theory  being  that  the  plot  of  a  gag  comedy  was  of 
little  or  no  importance,  anyway — and   start   gagging. 

-  veral  weeks  of  desultory  meetings,  some  sort 
of  a  tale  would  be  patched  together  and  the 
shooting  would  start.  A  couple  of  gag  men 
!  hover  about  the  set.  thinking  up  new 
stuff  to  inject  into  the  already  overburdened 
varn.  No  matter  how  the  script  stood,  it  was 
their  business  to  change  it  as  much  as  possible 
to  prove  that  they  were  on  the  job.  Director 
and  gag  men  alike  were  determined  to  garner 
all  the  credit  for  putting  the  picture  over.  The 
powers  above  them  must  never  be  allowed 
think  they  had  a  good  story  to  start  with,  and 
that  their  work  was  of  small  importance. 

netimes  the  very  day  the  shooting  started, 
with  hundreds  of  people  draw- 
pay,    the    director    would 
grandly  tear  up  the  script  that 
had  been  handed  him.  and  start 
improvising  a  story  as  he  went 
along.      This    naturally    led 
trouble.    The  story  concocted  on 
the  set  would  suddenly  ti 
up  into  a  hard  knot.    Then  | 
duction  would  have  to  be  hall 
while  the  director  and  his  hench- 
men went  into  conference  in  an 
attempt  I  hten  it  out. 

Finally   the   picture,    in    Chi- 

-puzzle     form,     would     be 

"finished"  and  unloaded  upon  a 


In  the  gag  man's 
heyday,  every 
tender  love  ICMM 
had  to  have  its 
little     horseplay. 


long-suffering  film   editor.     He  would    find   miles  and 

miles  of  unnecessary  film,  scores  of  gags  that  would  not 
fit  in,  whole  situations  that  could  not  be  forced  into  the 
Story  pattern.  It  was  up  to  him  to  make  an  entertaining 
picture  out  of  chaos.  If  he  succeeded,  the  director  and 
his  gag  men  assumed  all  the  credit.  If  he  failed,  they 
talked  darkly  of  the  poor  quality  of  the  script  that  had 
been  thrust  upon  them. 

When  the  director  and  the  gag  man  had  taken  their 
whack  at  the  picture,  it  was  handed  to  the  third  member 
of  the  Unholy  Three,  the  title  writer.  Whether  the  pic- 
ture was  good  or  bad,  it  was  always  his  attitude  that  it 
was  a  terrible  mess  which  he  alone  could  save.  lie 
would  resuscitate  it  with  a  barrage  of  wise-cracking 
titles.  Sometimes  his  work  was  extremely  clever,  and 
sometimes  it  just  tried  to  be.  lie  made  some  pictures 
and  ruined  others  through  perpetually  straining  for 
laughs. 

(  >dd  as  it  may  seem,  sometimes  the  title  writer  was 
perfectly  willing  to  kill  a  good  picture,  if  he  could  put 
his  titles  across.  Many  a  good  comedy  drama  of  that 
period  was  loaded  with  ridiculous  repartee  which  de- 
stroyed  its   sincerity.      People   went   out   of   the   theater 

thinking  they  had  seen  a  poor 
picture,  but  clever  titles. 

All  these  gentlemen — the 
gag  man.  the  director,  the 
title  writer — had  their  virtues 
as  well  as  faults.  A  few  ot 
them  had  not  only  unusual 
talent,  but  good  judgment  in 
exercising  it.  Others  had 
neither. 

The  jocular  title  writer  was 
probable  the  cleverest  of  the 
three     impresarios     of 
comedy.    He  had  to  be.    The 
gag  man  could  often  get  by 

on    borrowed    ideas,    and    the 
director  had  many  a 
to  lean  on.  but  the  title  writer 
was  faced  with  problems 
must   solve  by  bis  own  un- 
aided ingenuity,  or  quit. 

The  aces  of  the  lot  had  a 
real     t.'ift     for  the 

movie    audi 
terii 

for  support  on  the  inspiration  of 

Many  a  title  writer  empl 

to  clip  u  from  publii  all 

Conrii  '  17 


Broad    comedy    got    broader    and 
broader  in  the   era  just  past. 


B6 


I  Kose  Rainy- 

You  see  them  only  in  Hollywood,  but  doubt 

it  gets  the 


"It's  good  for  the  grass,"  Nancy 
<  'arroll,  above,  chirps  to  Skeets  Gal- 
lagher, but  Skeets  isn't  in  the  hay 
busii  what   comfort  does  he 

get  out  of  that  old  weather  wheeze? 


J  a  m  c  s  Hall, 
above,  seems  to 
be  doing  the 
Varsity  Drag 
out  in  the  wet, 
but  a  note  ac- 
companying the 
photo  explains 
that  he  is  trying 
to  slosh  some 
rain  from  his 
shoe. 


Harry  Green,  above,  likes  the  rain,  but  not  as  the  farm- 
ers like  it,  for  it  gives  him  delightful  shudders  that  will 
make  him  all  pepped  up  when  it  stops. 


Rain   makes   Kay   Francis,   left,  homesick    for   the   East, 

where   it   comes   often   and    in   liberal   quantities.     Then, 

tOO,  she  is  the  kind  of  girl  who  can  always  find  a  break 

in  these  studio  clouds. 


87 


Day  Grins  **> 

less   it's  because   such   unusual   weather   passes   before 
players  down. 


A  little  rain  not  being 
to  kei  p  an  ex- 
perienced bines  singer 
.     Lillian     Roth, 
'.lit.   warbles   along: 
the    storm, 
i vcn  if  she  did   : 
| 


It's  the  humidity  that  undermines  the  morale 
of  Regis  Toomey,  above,  and  makes  him  say 

tho^e   things. 


o'    davil 

terror  in 
the  heart  o :  George 
Bancroft,  r  i 
for  he  takes  the 
weather  as  h. 
it.  just  a-  he  meets 
reen  ene- 
tth  a  hearty 


Since  umbrella'   have   figured   in 
Joan   Peer  imination   when   she 

'!  Hamilton's      'I ' 

pretending  they  don't  like  rain. 


s.s 


Are  TK 


ese 


When  a  player  makes  a  hit  in  a  picture,  the 
own,  and  constant  repetition  of  the  big  role 

to  the  great 


B?  William 


Photo  by  Autre? 
Janet  Gaynor  is  made  to  re- 
peat, with  variations  in  set- 
ting,   her    farewell    scene    in 
"Seventh  Heaven." 


ANEW  face  is  discov- 
ered.   The  stuff  that 
stars  are  made  of  is 
found  in  a  newcomer.  What 
happen- ? 

The  player  has,  of  course. 
made  a  hit  in  some  program 
picture;  her  work  has  been 
lauded  by  the  oracles  of  the 
press.  To  prove  that  they 
knew  what  they  were  doing 
when  assigning  her  roles. 
the  producers  pick  out  Miss 
and-so  as  their  next  bet. 
Straightway  the  huge  ma- 
chines of  the  cinema  temple 
oiled  and  set  in  motion 
for,  as  they  say,  the  young' 
player's  benefit. 

Every  player  in  the  mo- 
tion-picture factory  has 
gone  through  the  works 
while  being  molded  into 
stardom.  Thousands  of  dol- 
lars are  spent  by  her  pro- 
ducers for  the  betterment 
of  her  anatomy.  1  ler  teeth 
must    he    seen    to;    beauty 


Imto  l>y  Kahle 


treatments  are  on  the  mat ;  the  color  of  her  hair 
is  changed,  in  order  that  it  will  register  flattering 
glints  when  photographed. 

Miss  Starlet  is  groomed  for  launching.  And 
launched  she  is  upon  an  ever-receptive  public. 

My  argument  is,  on  this  occasion,  against  the 
producers,  for  I  believe  they  are  to  blame.  They 
are  like  high  priests  of  old,  pampering  and  glori- 
fying the  stars  they  single  out,  until  the  time  of 
sacrifice  arrives.  All  the  glory  is  then  stripped 
from  the  victims  and  they  are  thrown  helplessly 
to  the  Molochlike  idol  of  the  cinema  cult — the 
most  beneficent,  yet  the  most  pitiless  one  in  ex- 
istence. 

It  is  ever  the  same  story.  Stars  are  used  as 
fodder  for  the  great  god  cinema. 

Not  so  long  ago,  in  "Alibi,"  Chester  Morris 
and  Regis  Toomey  gave  very  good  performances. 
If  you  saw  this  picture,  you  will  recall  that  Mor- 
ris played  a  crook,  Toomey  a  feigned  inebriate. 
Mr.  Morris  had  a  good  scene  where  he  believed 
he  was  to  be  shot.  His  nerves  gave  way.  He 
cringed  and  crawled  to  portray  his  emotions,  his 
face  taking  on  all  the  shades  of  cowardly  fear. 

To  leave  well  enough  alone  is  always  good.  But 
that  truth  is  yet  to  be  learned  by  the  producers. 

In  "Fast  Life,"  Chester 
Morris  was  one  of  the 
cast,  along  with  Douglas 
Fairbanks,  Jr.,  and  Loretta 
Young.  "Youthful  Hys- 
terics" should  have  been 
the  title.  Every  one  flew 
off  the  handle,  which  was 
probably  more  the  direc- 
tor's fault  than  theirs. 

Morris,  for  instance, 
was  made  to  repeat  his  big 
"Alibi"  scene,  or  rather  to 
do  one  as  nearly  like  it  as 
possible.  But  in  this  film, 
instead  of  reaching  dra- 
matic heights,  Chester 
gave  the  audience  the  im- 
pression that  his  face  was 
a  lump  of  dough  which 
had  to  be  relentlessly 
kneaded  with  his  hands. 

Don't  blame  him.  I 
doubt  if  he  wanted  to  do 
it.  It  was  merely  a  case 
of  the  sacrificial  rites  of 
the  great  movie  god,  de- 
manding that  the  victim 
give  a  few  more  pounds 
of  his  art  to  the  box  office. 

Box-office     returns     from 

"What  Price  Glory?"  fixed 

the   career   of   Victor  Mc- 

Laglen. 


89 


Stars  Doomed? 


high  priests  of  filmdom  mark  him  for  their 
leads  eventually  to  the  sacrifice  of  a  career 
god  cinema. 

H.  McKegg 

And  Toomey  seems  to  be  getting  a  similar  deal. 
Having  made  a  hit  a>  the  drunk  in  "Alibi,"  R 

is  now  thrown  from  one  similar  role  to  anotl  < 

In  "Illusion" — a  poor  picture  in  every  way — he 
rolled  and   hiccuped   his  way   through   its  dreari- 
\'ot  that  he  wanted  to.     He  was  only  bow- 
ing to  the  cinema  god  for  which  he  works. 

A  hit  is  a  hit.  the  producers  say.  and  the  victim's 
own  particular  hit  must  be  squeezed  from  him  until 
lie  has  no  more  acting  to  offer  the  vampire. 

Bancroft  appears  also  to  he  a  victim  of 
the  same  cult.  Mr.  Bancroft  rose  to  fame  n\i  the 
strength  of  being  a  hero-villain.  Anion-  other 
things  he  sprinkled  his  acting  with  loud  and  long 
guffaws,  with  variations.  At  the  beginning,  in 
"White  Gold,"  his  guffaws  went  over.  I'm 
any  one  still  appreciate  them?     If  George  has 

1   in  one  crook   role,   he   has   appeared    in   a 
dozen. 

He  once  told  me  that  he  did  not  care  what  type- 
he  played,  so  long  as  it  !  a  certain  sym- 
pathetic appeal.    "For  in  real  life.  I'm  not  as  I 
as  my  crook  roles."  he  explained. 

I  might  say  now — and  who  won't  agree  with  me  ? 
— that  many  more  of  Mr.  Bancroft's  guffawing 
crooks  will  afford  him  no  sympathy  from  fans 
whatever.  So  far.  he  has 
been  drawing  the  p 
in.     Yet  do  ]  see  the 

final   sacrificial   rite  loom- 
in  the  near  future ? 

Who  will  save  the  vic- 
tim?    The  producers  need 
not  worry,  so  long  as  Mr. 
Bancroft's    pictures    make 
at  present. 

Wh  that   matter, 

will  save  Clara  Bow  ?  I 
mean  rescue  her  from  the 
nt  protrayal  of  the 
wild,  madcap  girl  that  die 
In 
"Lad  the      .V 

Clara  |  account 

of  her  e  acted.   But 

f  the  cinema  de- 
mand more  box-office  re- 
turns, and  Clara's  flaming 
"It  lo  the  trick. 

Thus  it  is  that  we  have 
inundated    with    one 
"It"    ]>ortrayal    after    an- 
other, until  the  Bow's  fire 

From  one  picture  to  an- 
other Gara  has  been  n 


IMioio  b- 


Let  the  fans  tire  of  George 
Bancroft's  guff  awing  crooks 
—they  make  money  to-day. 


Clara  Bow  cannot  escape 

playing    the    red-hot    "It" 

girl. 

to  rush  along,  with  hardly 
a  re>t  between  each  pro- 
duction. The  girl  is  anae- 
mic, and  no  wonder :  she 

i-  one-  of  the  maidens  in 
the  temple  of  the  treat 
tod  cinema.  As  lot 
she  is  useful  and  draws 
in  the  dollars  she  will  be 
.-tarred.  A-  soon  as  the 
public  tire-  of  In 
typed  "It"  role-.  Clara 
will    '  ificed.     And 

lamity   for  any  romantic 

young    man    to 

plat 

One    must,    of    on. 

regard    tin-    product 
sid<   of  the  « jut  stion.     A 
studio  is  a  factory. 

money    i-    paid    a 

in-.  Km   I 
ilar. 

ding  witl 


90 


Are  These  Stars  Doomed? 


■-«•««*-».. 


Photo  liy  Bl 

Regis  Toomey's  role  in  "Alibi"  set 
an  iron-bound  pattern  for  his  work. 

The  box  offices  swelled  with 
money.  The  great  movie  machine 
was  set  in  motion,  and  Janet  was 
prepared  for  stardom. 

There  were  several  big  scenes  in 
"Seventh  Heaven"  that  won  ap- 
plause. For  example.  Janet's  fare- 
well to  Chico,  in  which  she  laughed 
and  cried  at  the  same  time,  and 
Charlie's  awkwardness  in  facing 
adolescent  love. 

Janet  was  acclaimed  a  wonder 
of  the  year.  And  true  enough  that 
was.  for  her  ethereal  quality  was 
caught  by  Frank  Borzage's  skill 
and  brought  to  full  light. 

What  happened  ? 

"Street  Angel"  was  filmed  soon  afterward.  Charlie  was  made 
to  repeat  his  awkward,  adolescent  behavior,  while  Janet  essayed 
another  pathetic  farewell.  As  she  was  led  away  by  a  policeman, 
she  whistled  parts  of  "O  Sole  Mio"  in  response  to  Charlie's  frus- 
trated efforts  to  save  her. 

As  beautiful  as  Janet's  acting  was.  the  scene  recalled  the  similar 
one  in  "Seventh  I  leaven."  When  a  comparison  was  made  the  honors 
went  to  the  first  picture,  making  the  later  one  seem  not  so  good. 

Now  that  audible  films  are  here  to  stay,  many  startling  things 
are  expected  from  our  players.  In  "Sunny  Side  Up,"  Janet  and 
(  harlie  costarred  again.  A  silly  plot  was  the  first  handicap.  On 
top  of  this.  Janet  was  again  made  to  smile  through  her  tears,  at 
Charlie's  garden  party. 

If  the  public  sees  too  much  of  one  thing,  it  blames  the  stars. 
"She  always  does  the  same  stuff!"  and  "See  him  once  and  you  see 
him  for  good!"  are  the  criticisms  heard.  But  we  must  remember 
that  the  •-tar  is  merely  a  victim  of  the  cinema  creed. 


If  possible,  she  may  escape. 

I '-(he  Daniels  is  one  who  escaped  from  the  great  god 
cinema,  journeying  to  a  new  temple  of  art.  She  came 
through  with  honors  in  her  first  audible  film,  "Rio  Rita." 
As  a  Paramount  star,  Belie  was  let  alone  to  make  her 
comedies  as  she  wished.  With  several  gag  men  and  the 
director,  she  worked  out  a  story  and  made  it.  She  even 
supervised  the  titling,  cutting,  and  editing. 

The  chief  thing  required  by  the  high  priests  of  the 
movies  was  that  she  make  a  certain  number  of  pictures 
a  year. 

Bebe  commenced  to  go  the  way  of  all  stars — that  is,  her 
pictures  became  stereotyped. 

With  the  talking  revolution,  Bebe  was  let  out.  But 
what  a  turn  of  good,  fortune  for  her !  As  a  star  for 
RKO,  she  was  given  the  prima  donna  role  in  "Rio  Rita," 
and  she  has  gone  right  on. 

Bebe  escaped  being  used  as  fodder  for  the  cinema  god, 
a  fate  which  would  certainly  have  been  hers  had  she  con- 
tinued to  make  comedies. 

And  speaking  of  comedies,  Victor  McLaglen  and  Ed- 
mund Lowe  scored  a  hit  in  "What  Price  Glory?"     The 
money  rolled  in.    The  high  priests  could  not  overlook  that. 
Then  Raoul  Wralsh  directed  the  same  players  again  in 
"The   Cock-eyed  World."     The   same   antics   were  gone 
through.      Mr.    McLaglen    was    the    tough    marine,    Mr. 
Lowe  the  wise-cracking  guy.     Such  a  box-office  hit  did 
this    rowdy    duet    prove    that    the 
priests  of  the  temple  intend  to  co- 
star   them   in   a   series   of    pictures, 
continuing  their  merry  life  as  ma- 
rines  in   pursuit   of   what   is   called 
love. 

Will  these  two  victims  be  swal- 
lowed up  in  the  Juggernaut,  or  will 
they  manage  to  escape  next  year's 
Continued  on  page  114 

The  wise-cracking  sergeant  of  "What 

Price    Glory?"    is    regularly    revived 

for  Edmund  Lowe. 

Photo  by  Bruno 


Chester   Morris   also   came 

through  "Alibi"  with  a  fixed 

future. 


(Jfcc  Atost  Glorious  J2p 
/l/ou  Size/-  Usad/ 


(**e~'  o  every  tvpe  of  beauty,  "  '  /inii/oin  "  Ked  -J^ipsticU 
V_^  brings  that  crowning,  artful  touch  that  allure.-;  and 
captivates.  CJor  is  hantom  cAcJ  matches  the  warm. 
healthy  glow  of  nature  —  imparting  to  lips  a  soli,  smooth 
brilliance  as  invitingly  luscious  as  sun  -  ripened  cherries. 
^'  I  sweet  reason  win-  men  father  around,  as  bees  io  I. 
—  a  good  reason  why  girl  rivals  frown  anil  pout. 

mUucovormd  and  perfected  by  beauly-chemisls.  c/haniom 

cAca    is   healmg,  lasting,  Waterproof.        I lo  less  famous   15 


the  cJ  hantom    <zA.ed   cKougc    C  ompact,    twin   m   color  to 
the  lipstick  and  another  popular  C  arlyle  product. 

(    nd  [four  hopeful  search   /el   ideal  lip-color.   r>lis  uourt 

1/  vou  II  clip  and  mail  the  coupon  below  without   delay, 

L^/if    coupon    with     l(  c    brings     von    a    vanity    size 

C )  hantom      '  Ked     yLlpstlCK    and    make    up     guide    by    r% 

turn  mail.   .'In  additional  lOc  brings  the  dainty  model 

r)  hantom      Ked    iKouga    \   ompact.    Lr-tddreu   (   arlylt 

iboratorteSf  dJnc,  6  J  cJijth  i/ivenue,    I lew  ^Jorlc, 


CPIuuOomOled 


1  1 1  /  1  1  <  1 


Phantom  Red 
Rouge  Compact 

(u  n  1 1  c  rs  a  I 
shade  prni  lie 


Phantom  Rtd  LipStkk  is  pre- 
via smart,  modern,  red 

and  black  enamil  caie,  %1.<A); 
Junior  size,  }0c. 


(    arlylt  oLaborat  nee,      ->ic. 

<  -    ■  ■  V..,£ 

C   ncloita  it   if  c  for  wnteh 
both 
1  antiy  Qfimt  ' 


At  Last  The  Great  Broadway  Hit 
Comes  To   The   Talking  Screen 


**!s» 


A  greater,  more  complete,  more  real 

istic    production   of  this   sensational  j 

musical  comedy  than  was  possible  on 

the  stage.  "GOOD  NEWS"  brings  you  \ 

the  soul  of  college  life — its  swift  rhythm,  | 

its  pulsing  youth,  its  songs,  its  pep,  its  loves,  its 

laughter — crowded  into  one  never'to-be-forgot- 

ten   picture.    A   cocktail   of   hilarious,   riotous 

entertainment! 

What  a  cast!  Bessie  Love,  of  "BROADWAY 
MELODY"  fame;  Gus  Shy,  who  starred  in  the 
Schwab  &.  Mandel  Broadway  presentation; 


M  ETRO-G 


-ftfisniiiizy**^ 


beautiful  Mary  Lawlor,  also 
one  of  the  original  cast;  Cliff 
Edwards  with  his  magic  uku- 
lele;  Stanley  Smith,  Lola  Lane, 
Dorothy  McNuIty  and  a  cam* 
pus-full  of  cute  co-eds  and  capering  collegiates. 

Marvelous  music  by  De  Sylva,  Brown  & 
Henderson.  "The Best  Things  in  Life  are  Free", 
"The  Varsity  Drag"  and  others.  Mirth!  Melody! 
Speed!    That's  "GOOD   NEWS"! 

Scenario  by  Frances  Marion— Dialogue  by  Joe  Farnham 
Directed  by  Edgar  J.  MacGregor  and  Nick  Grinde 


P»X 


BL   Jf 


,  N-MAYER 

sS^'More  Stars  Than  There.  Are  in  Heaven" 


91 


In  a  Stogie  It's — 

You  never  can  tell,  as  the  effect  depends  upon  the  smoker 


Joe    E,    Brown,    left, 

trusted  a  professional 

hand-shaker's  gift,  bul 

never  again. 


That  sinking  feeling 
that  conies  over  a  boy 
ten  puff-  down  the 
cigar  hits  Frank  Mc- 
Hugh,  upper  right. 


Eddie   Quillan,   center, 

tackles  a  man's' cigar,  and 

has  to  take  time  out   lor 

bitter    reflection. 


All    for    art.    Ben    I 
below,  trie?  to  go  through 
with  a  cigar  because  the 
script   calls    for    it. 


i  I  i 


h 


92 

limn <1  From  page  19 
did  get  that  part  in  the  picture,  and 
Tin  leaving  for  America  to-night !    1 
— I  don't  suppose  you'd  care  u>  come, 
too?" 

Mrs.  Haggerty  made  it  very  plain 
that  she  wouldn't.  She  made  a  lot  of 
other  things  plain,  as  well,  while  she 
was  at  it.  Hopelessly  Jane  tried  to 
tell  what  she  thought,  and  Larry 
strove  tn  make  clear  the  advantages 
of  a  picture  contract  with  Superha 
Films.  Mrs.  Haggerty  had  the  floor 
and  kept  it. 

The  storm  raged  the  rest  of  the 
morning  and  all  afternoon.  The  gen- 
teel, impoverished  English  set  which 
Mrs.  Haggerty  cultivated  would  have 
been  horrified  at  the  things  she  said, 
and  the  shrill  voice  in  which  she  said 
them.  She  had  given  her  life  for 
Jane,  had  brought  her  to  Europe,  be- 
cause her  type  wasn't  appreciated  at 
home,  and  now,  with  an  excellent 
marriage  in  prospect,  Jane  was  losing 
her  head,  and  running  away  with  this 
young  reprobate  who  obviously  meant 
no  good. 

In  the  end,  Jane,  her  eyes  filled 
with  tears,  marched  out  of  the  house, 
her  head  held  very  high,  her  slender, 
little  body  very  erect.  And  Larry, 
picking  up  her  suit  case,  strode  after 
her. 

"Mother's  always  treated  me  like 
that,"  she  told  him  as  they  walked 
down  the  road.  "She  has  to  have 
her  own  way,  and  she  doesn't  care 
whether  I'm  happy  or  not.  She 
wanted  to  come  here,  because  it's  part 
of  Europe  and  it's  cheap,  so  she  said 
that  I  wouldn't  have  a  chance  back 
home,  because  I  wasn't  pretty  like  the 
girls  there,  and  we  ought  to  come 
here." 

"You're  beautiful,"  he  told  her  ear- 
nestly. 

"My  hair's  too  black  and  sleek,  and 
my  skin's  olive,  and  my  features  are 
too " 

"Perfect!" 

She  smiled  through  her  tears. 

"Oh,  I'm  a  Spanish  type,"  she  an- 
swered, trying  not  to  show  how 
pleased  she  was.  "And  I've  fitted  in 
here.    But  I  hate  the  place." 

"Maybe  you'll  hate  Hollywood, 
too,"  he  said  anxiously.  "But — gee, 
I'd  like  to  show  you  parts  of  it." 

Her  eyes   widened   with  dismay. 

"But  aren't  you  going  with  me? 
How  shall  T  yet  along  without  you?" 

lie  grinned  down  at  her,  and  she 
realized  that  he  looked  like  the  pic- 
tures of  Richard  Arlcn  she  had  seen 
in  the  magazines. 

'A'< .it'll  find  Hollywood  just  full  of 
men  who'll  he  <,dad  to  substitute  for 
me."  he  told  her.  "And  maybe  I'll 
be  able  to  get  hack  before  long,  if 
I'm  not  shipped  to  the  ends  of  the 
earth  to  cover  an  earthquake  or  some- 
thing.    Xow  about  what  you're  to  do. 


Babes  in  Hollywood 

I  gave  you  a  Spanish  name,  of 
course." 

"Oh,  what  is  it?"  she  demanded, 
all  interest. 

"Carmen    Valencia." 

"Larry,  you  didn't!" 

He  met  her  shocked  gaze  apolo- 
getically. 

"Well,  you  see  I  was  still  sort  of 
hazy,  and  I  couldn't  think  of  any 
first  name  that  was  Spanish,  except 
Carmen.  I  had  to  ship  the  stuff  in 
a  hurry,  and  I  was  hunting  for  a  last 
name,  when  some  men  came  along 
the  street  singing  'Valencia,'  so  I 
hit " 

"But  they'll  laugh  at  that  name! 
They  must  have  heard  that  song  in 
the  States." 

"Did  they!  It  went  from  the 
speakeasies  to  the  Senate!"  he  as- 
sured her.  "But  anything  goes  in 
Hollywood,  honestly.  They're  a 
bunch  of  infants  out  there;  they'll 
believe  anything  you  tell  'em.  Why, 
a  blond  chorus  girl  turned  Russian 
to  get  a  job — didn't  know  a  word  of 
anything  but  plain  American — and 
she  put  it  over,  even  on  Cecil  De- 
Mille.  They  won't  know  over  there 
but  what  Valencia's  one  of  the  fam- 
ily names  of  the  king." 

She  sighed  resignedly. 

"All  right ;  I'll  have  to  stick  to  it, 
I  suppose.  Now  how  do  I  get  home, 
and  what  do  I  do  when  I  get  there  ?" 

He  drew  her  over  to  the  side  of 
the  road,  where  there  was  a  patch  of 
shade,  and  took  off  his  hat. 

"Let's  sit  down  on  your  suit  case 
and  I'll  tell  you.  When  we  get  to 
Spain,  we'll  fly  to  Paris.  You've  got 
to  make  time.  Then  you  board  the 
Amphibia  and  reach  New  York  about 
five  days  later.  The  New  York  office 
of  Superba  will  have  people  meet 
you,  and  take  you  to  your  suite  at 
some  hotel.  They'll  buy  clothes  for 
you,  and  have  you  meet  the  news- 
paper men.  Say,  you've  got  to  have 
an  accent !" 

"I  can't !  I've  spent  the  last  ten 
vears  trving  to  talk  Nebraska." 

"You'll  have  to,"  he  told  her 
sternly.  "Say  'ze'  for  'the,'  and  all 
that  sort  of  thing.  You  can  practice 
on  the  boat  going  over.  And  you've 
got  to  alibi  being  able  to  speak  Eng- 
lish so  well.  How  about  your  having 
had  an  English  tutor,  poor  nobility, 
you  know — make  her  a  sweet  old 
dame  called  "Miss  Bibbett — that 
sounds  governessy.  You  can  talk  a 
lot  about  dear  old  Bibbett,  if  neces- 
sary." 

After  they  were  settled  on  the  boat 
he  showed  her  the  clothes  he  had 
bought.    Jane  gasped  with  horror. 

"But  Spanish  girls  don't  dress  that 
way !"  she  cried.  "They  wear  aw- 
fully smart  clothes,  and  sometimes  a 
mantilla  and  a  high  comb,  but  these 


— why,  that's  a  bullfighter's  cos- 
tume !" 

"Sure — isn't  it  gorgeous,  with  all 
that  gold  braid  and  everything?" 

"I  will  not  wear  the  pants!" 
stormed  Jane. 

"You  won't  have  to,"  Larry  told 
her.  "I  wanted  the  cape  and  the 
guy  threw  those  in.  You  ought  to 
imply  that  you  had  a  romance  with 
a  bullfighter.  If  you  can  get  away 
with  it,  it'll  be  swell  publicity." 

To  distract  her,  he  began  to  tell 
her  about  Hollywood.  The  lesson 
went  on,  at  intervals,  all  the  way  to 
Paris.  She  had  time,  while  there,  to 
buy  one  suit  and  one  dress,  and  then 
he  whisked  her  off  to  Cherbourg  to 
catch  the  Amphibia. 

When  they  arrived, 'they  found  that 
the  boat  had  been  delayed  by  heavy 
seas.  So  she  and  Larry  sat  on  the 
deck  of  the  tender,  waiting.  Jane 
grew  more  and  more  fearful.  What 
a  crazy  thing  this  whole  adventure 
was !  How  could  it  possibly  succeed  ? 
A  girl  from  Nebraska,  going  back  to 
her  own  country  as  a  Spaniard ! 

She  tried  to  remember  the  things 
her  father  had  said  about  so  many 
people  in  the  part  of  Ireland  where 
his  family  had  lived  being  Spanish 
types,  but  it  wasn't  very  encouraging. 

"Larry,  I  can't  do  it !"  she  cried, 
panic-stricken,  clutching  his  hand. 
"If  you  were  going  to  be  with  me, 
maybe  I  could  pull  through,  but  alone 
there " 

"Now,  you  listen  to  me,"  he  inter- 
rupted, with  the  smile  that  she  always 
found  reassuring.  "I  tell  you  they're 
just  a  bunch  of  babies  in  Hollywood, 
just  as  gullible.  They  get  it  into  their 
heads  that  a  girl  is  one  thing,  and 
nobody  can  make  'em  change.  Look 
at  the  way  they  keep  Lois  Wilson 
stuck  in  the  same  kind  of  roles  all 
the  time,  just  because  they  think  she's 
that  type.  Well,  they'll  look  on  you 
as  a  high-class  Spaniard,  and  you'll 
be  sitting  pretty. 

"I'll  get  back  as  soon  as  I  can,"  he 
went  on.  "I  did  you  sort  of  a  dirty 
trick,  maybe,  getting  you  into  this, 
and  I'll  try  to  help  you  out.  And 
anyway  you'll  make  plenty  of  money 
on  this  first  picture,  and  you  needn't 
make  any  more  if  you  don't  want  to. 
Of  course,  if  I  hadn't  been  sort  of 
drunk " 

"Oh,  Larry,  that's  another  thing 
that's  been  worrying  me,"  she  ex- 
claimed. "Of  course,  I  haven't  any 
right  to  ask  it,  but— well,  I  do  wish 
you  wouldn't  drink  any.  more.  Why 
do  you  do  it,  anyway?" 

He  stared  thoughtfully  at  the  Am- 
phibia slowly  approaching  over  the 
twilight  sea. 

"I  get  lonesome  as  the  dickens,  or 
blue,  or  mad  at  somebody,  and  drink- 
Continued  on  page  94 


«).-{ 


^v 


Ouif  Madame 

A  queen   in  one  film,  a  maid   in  the 
next — that's    the    life   of   an   actress. 
And   if  you  look  closely  at   the  pic- 
tures on  this  page,  you  will 
see   that    even   a   star    is    not 
above    slipping    on    cap    and 
apron    for    art's    sweet    sake. 


Zasu  Pitt-,  right,  used  to  play 
pathetic  roles  in  silent  films,  but 
with  the  coining  of  talkie-  she  be- 
came a  comedienne  of  the  first 
rank,  making  maids  her  specialty. 


.    •       ■. 


Daphne  Pollard,  left,  the  tiny 
Australian  star,  serves  laughter 
liberally,   whether   she   i-   madame 

or  maid. 


Virginia  Sab-,  center,  sister  of  the 
inimitable  Chic,  is  a  maid  in  "Lov- 
in'  the  Ladi 


s 


_• 


H'  re    we    h  a  v  <•    two    full- 

Daniels, 

and  Billfc  Dove,  right, 

holds 

Daniels,    in 

"Alias  French  with 

an  eye  on  madam* 

and 

heart-  and   Wives,"   k 
le  the  reins. 


94 

Continued   irom  page  92 
illg's  the  only  way  out  of  it,"  he  said, 
at    last.      "I    haven't  any   people,  you 
see ;  there's  nobody  who  cares  a  hoot 
about  me." 

"1  care,"  she  told  him  simply. 

lie  turned  to  her  quickly,  his  face 
alight 

"You  do?"  he  asked.  "Honest? 
Why,  that's — that's  wonderful.  If 
you  want  me  to  stop,  I  will.    I  prom- 

The  tender  began  to  move  just 
then,  and  people  crowded  about  them. 
I  !  y  were  silent  until  they  reached 
the  ship,  when  Larry  looked  up  her 
room  tor  her,  and  then  took  her  back 
on  deck.  She  looked  up  at  him  with 
eyes  brimming  with  tears. 

"I'll  he  so  alone  without  you,"  she 
said,  choking  back  a  sob.  "Even  my 
mother  doesn't  seem  to  belong  to  me 
now.  I'll  get  back  to  the  States,  and 
won't  know  a  soul,  or  have  any 
friends " 

"Say,  that  reminds  me,"  he  ex- 
claimed. "I  meant  to  speak  of  it  be- 
fore. I'd  like  to  give  you  something, 
and  there's  only  one  thing  in  the 
world  I  care  about,  and  that's  my 
dog.  He's  in  a  kennel  in  Los  An- 
geles. You  take  this  note  to  the  man 
who  owns  it,  and  I'll  cable  him,  so 
that  you  won't  have  any  trouble. 
He's  a  Scottie — the  dog,  I  mean — 
and  his  name  is  Ramsay  MacDonald. 
He's  the  best  friend  I  have.  Will 
you  take  him?" 

Jane's  smile  was  so  lovely  that  he 
drew  a  quick,  jerky  breath. 

"I'd  love  to!"  she  exclaimed.  "And 

see  here "  she  began  fumbling  in 

her  hand  bag.  "I've  never  had  any 
money  of  my  own,  but  I  found  this 
and  kept  it  for  good  luck,"  and  she 
pressed  a  Spanish  coin  into  his  hand. 
"Take  it  to  remember  me  by." 

He  took  the  coin  and  her  hand  as 
well,  and  stood  there  looking  down 
at  her.  An  odd  electric  silence  fell 
between  them,  despite  the  people  who 
jostled  their  way  past. 

She  knew  that  he  wanted  to  kiss 
her ;  knew  that  she  wanted  him  to  do 
it.  But  she  could  only  stand  there 
hash  fully,  and  at  last  he  turned  away. 

"Well,  so  long,  darling,  and  good 
luck,"  he  said  huskily.  "You  have 
my  address ;  be  sure  to  let  me  know 
how  things  are  working  out."  And 
he  was  gone. 

"Darling!"  He  had  called  her  that 
— but  he  had  told  her  that  in  Holly- 
wood you  call  every  one  "darling." 
except  the  people  for  whom  you 
really  care.  Tt  didn't  mean  a  thing. 
Or  did  it.  this  time? 

The  boat  trip  was  pure  torture. 
She  didn't  dare  get  acquainted  with 
the  other  young  people,  much  as  she 
longed  to  join  in  their  fun.  She  sat 
on  deck,  studying  Spanish  assidu- 
ously, hiding  her  books  when  any  one 


Babes  in  Hollywood 

approached,  whereupon  a  rumor 
promptly  got  under  way  that  she  read 
the  sort  of  books  people  don't  care 
to  be  caught  reading! 

Only  on  the  night  of  the  captain's 
dinner  did  she  enjoy  herself.  She 
had  talked  a  little  with  the  girl  who 
had  the  next  deck  chair,  and  that 
morning  Katharine  Hoyt  insisted  on 
confiding  in  her. 

"I  haven't  got  a  thing  to  wear  to 
the  costume  ball  to-night,"  she  an- 
nounced, "except  a  Hawaiian  cos- 
tume ■  mother  bought  me  years  ago. 
I've  worn  it  to  parties  all  over  the 
world,  and  I  hate  it!" 

"Oh "     Jane   sat  up   straight, 

her  cheeks  glowing.  "I  have  a  bull- 
fighter's costume,  and  I  wonder — 
couldn't  you  wear  that,  and  lend  me 
yours  ?" 

Katharine's  shriek  of  delight  al- 
most stopped  the  shufHeboard  tourna- 
ment on  the  deck  above,  and  a  star- 
tled old  lady  howled,  "Somebody's 
fallen  overboard !" 

"Come  on !"  she  cried,  dragging 
Jane  out  of  her  chair.  "Have  you 
honestly  got  those  cute  pants  and  the 
trick  hat?" 

That  evening  was  the  happiest  Jane 
had  ever  known.  As  a  Hawaiian  she 
was  a  great  success  from  the  moment 
she  entered  the  dining  room  to  that 
when  she  led  the  grand  parade  to 
the  swimming  pool. 

When  the  ship-news  men  came 
down  the  bay  the  next  day,  they  went 
straight  to  Katharine ;  she  was  as 
familiar  a  figure  as  the  Statue  of 
Liberty,  thanks  to  her  restless  moth- 
er's love  of  travel. 

"Who's  on  board  that's  news?" 
they  demanded. 

"The  grandest  person,"  she  an- 
swered. "A  little  Spanish  girl  who's 
going  to  star  in  the  movies.  And  she 
has  a  bullfighter's  costume " 

"She  won't  admit  it,"  Katharine's 
brother  cut  in,  "but  I'm  sure  it  be- 
longed to  one  of  the  biggest  fighters 
in  Spain.  Seems  to  me  I  heard  about 
a  romance  one  of  'em  had  with  some 
girl,  and  it  interfered  with  his  work 
— she  was  the  daughter  of  some 
swell " 

"Bet  she  had  to  leave  the  country !" 
exclaimed  a  tabloid  man,  scenting 
headlines.     "Where  is  she?" 

As  a  result  of  that  little  inter- 
change, Jane  found  herself  besieged. 
She  had  dreamed  of  returning  to 
New  York,  where  she  had  spent  a 
wretched  year  when  she  was  eleven. 
She  would  wear  beautiful  clothes,  be 
very  gracious,  very  dignified.  And 
now  here  she  was,  sailing  up  the  bay. 
with  a  bullfighter's  cape  slung  around 
her  shoulders,  while  the  photogra- 
phers urged,  "Say,  girlie,  please 
cross  your  knees !" 

Her  pictures  were  all  over  the  pa- 


pers that  night  and  the  next  morn- 
ing. The  Superba  publicity  man  was 
overwhelmed  with  admiration. 

"You  sure  know  your  stuff!"  he 
exclaimed.  And  Jane,  smiling  sweetly, 
replied,  "I  am  afraid,  seiior,  zat  I 
do  not  unnerstan'." 

That  accent  troubled  her  a  good 
deal  in  the  days  that  followed.  Some- 
times she  was  haunted  by  the  fear 
that  she  had  slipped  into  the  brogue 
that  her  father  adopted  for  telling 
Irish  jokes.  An  efficient  young 
woman  escorted  her  about  the  city 
on  shopping  trips,  and  she  carefully 
restrained  her  rapture  after  that  first 
awful  occasion  when,  on  being  shown 
a  gorgeous  evening  gown,  she  had  ex- 
claimed whole-heartedly,  "Oh,  what  a 
peach !" 

Her  blood  had  turned  to  ice,  but 
the  young  woman  had  laughed. 

"Your  pronunciation  of  our  slang 
is  so  cute !"  she  had  exclaimed,  and 
Jane  had  laughed,  too,  almost  hysteri- 
cally. 

A  luncheon  was  given  for  her  on 
her  third  day  in  town,  a  large  lunch- 
eon, at  which  she  met  the  reporters. 
She  sat  shivering  under  the  keen  eyes 
of  the  newspaper  and  magazine  folk, 
while  the  head  of  the  company  pre- 
sented her  to  them  in  glowing  eulogy, 
coupling  her  name  with  Pola  Negri, 
Chevalier,  and  Emil  Jannings. 

Finally  she  stood  up,  at  his  insist- 
ence, and  stammered  the  little  speech 
that  she  had  rehearsed  so  carefully 
the  night  before.  Oh,  surely  these 
people  would  see  through  her  absurd 
pretense ! 

"She  spoke  so  low  I  couldn't  un- 
derstand a  word  she  said  !"  one  young 
man  complained  afterward,  in  her 
hearing,  and  another  retorted,  "Scared 
to  death,  poor  kid !  But  you  have 
to  hand  it  to  these  Spaniards  for 
looks  and  temperament !" 

Jane  wondered  what  he'd  have 
"thought  of  her,  if  he'd  known  that 
she  was  born  on  a  Nebraska  farm. 

It  was  at  that  luncheon  that  she 
met  Rex  Talbot,  one  of  the  com- 
pany's best  directors.  He  had  sat 
near  her,  and  afterward  had  hurried 
to  meet  her. 

He  was  tall,  blond,  winning  of 
manner;  his  pictures,  highly  sophis- 
ticated, were  said  to  be  a  success, 
because  of  his  knowledge  of  women. 
Jane  had  read  about  him  in  the  maga- 
zines, and  she  trembled  a  little  as  he 
bent  his  ardent  gaze  upon  her. 

"You're  awfully  bored  by  this, 
aren't  you?"  he  remarked,  speaking 
very  slowly,  so  that  she  could  under- 
stand him.  "Now,  I  live  near  the 
Warwick,  where  you're  stopping — 
won't  you  come  up  to  my  place  this 
afternoon  at  dusk  and. let  me  show 
you  the  citv?  I.  have  what  wre  call 
Continued  on  page  104 


95 


T*  HP* 

lger,  1  lger 


06 

tinu<  '1  from  pag<   71 

times.  The  sailors,  ;i>  men  will, 
cluck  up  on  their  much-praised 
sweetie,  and  realize  they  have  been 
strung  along  in  a  high-handed  man- 
ner. Trouble  brews,  and  about  that 
time  Fredric  March,  as  Gunner  Mc- 
champion  gun-pointer  of  the 
Pacific  fleet,  appears.  Love  sparkles 
across  the  counter.  The  scene  of 
wooing  changes  to  a  Mexican  resort, 
where  there  are  gamblers  of  the  old 
school.  Love  is  almost  tripped  up 
by  Ruby's  boss,  who  is  secretly  a 
gambler  too,  and  a  gang  of  jealous 
gobs  on  the  trail  of  Gunner  McCoy 
because  he  is  winning  the  girl.  But 
after  wounded  pride  and  tears  comes 
the  sugary  finale. 

Mr.  March's  portrayal  of  the  gun- 
ner seems  true  to  life,  and  Miss  Bow's 
nonchalant  flirtations  are.  also.  Her 
voice  is  better  cast  here  than  her  face 
and  figure,  which  may  he  "wise,"  as 
they  say  in  Hollywood  of  anything 
not  exactly  foolish.  Harry  Green  is 
fine  as  the  greedy  proprietor  of  the 
drug  store,  who  encourages  whole- 
sale flirting  until  the  sailors  wreck  his 
establishment.  Sam  Hardy  plays  the 
hard-hearted    gamhler   to   perfection. 

If  You  Believe  It,  It's  So. 
Buddy  Rogers,  our  Galahad,  in  a 
naughty  film !  It  can't  be  denied  that 
the  conjunction  occurs  in  "Safety  in 
Numhers."  Mind,  Buddy  himself  is, 
as  usual,  pure,  as  well  as  boyish  and 
innocent.  But  is  it  fair  that  his  vir- 
ginity be  commercially  exploited? 
Here  he  is  seen  living  in  the  modern- 
istic apartment  of  three  chorus  girls 
whose  lines  confess  that  theirs  is  not 
a  life  of  rectitude  and  self-denial. 
Other  lines  go  ever  further,  one  of 
them  echoing  the  ribaldry  of  "The 
Cock-eyed  World,"  and  another  con- 
veying implications  that,  if  expressed, 
would  nullify  Picture  Play's  six- 
teen years  reputation  of  propriety ! 
Both  are  voiced  by  Carol  Lombard, 
who.  incidentally,  gives  the  best  per- 
formance of  the  three  girls,  the 
others  being  Kathryn  Crawford  and 
Josephine  Dunn.  Now  what  do  you 
think  the  world  is  coming  to? 

The  excuse  for  this,  if  any.  is  that 
Mr.  Rogers,  as  a  rich  youth,  is  sent 
by  his  guardian  to  New  York  to  be 
"educated"  by  three  lady  friends  of 
the  elder  man.  Imagining  them  to  he 
hopeless  old  maids.  Mr.  Rogers  finds 
them  otherwise  and  marries  the  coy- 
Before  he  does  so  there  is  con- 
siderable display  of  lingerie,  five 
soul,"-,  a  lot  of  hash  fulness,  some 
comic  relief  from  a  taxi  driver,  and 
a  pretty  slow  picture  heavily  over- 
laid with  what   we  shall  call  thin  ice. 

at  least  it  gives  Mr.  Rogers  a 
legitimate  opportunity  to  play  him- 
self instead  of  a  character. 


The  Screen  in  ReViev? 

England  As  It  Isn't. 

Painted  in  primary  colors,  as  it 
was  on  the  stage,  "So  This  Is  Lon- 
don" comes  to  the  screen  to  amuse 
those  who  enjoy  caricatures  of  Eng- 
land and  America.  It  shows  natives 
of  each  country  as  they  are  imagined 
by  the  ignorant  on  the  opposite  shores 
of  the  Atlantic.  Thus  we  see  Hiram 
Draper,  in  the  person  of  Will  Rogers, 
as  an  American  it  would  he  hard  to 
find  in  the  length  and  breadth  of  this 
country,  and  Lumsden  Hare,  as  Lord 
Worthing,  embodying  all  the  ear- 
marks of  an  Englishman  such  as 
could  never  exist  in  this  century. 
They  have  one  characteristic  in  com- 
mon :  utter  contempt  for  each  other's 
country.  They  are  brought  together 
for  mutual  inspection  by  a  love  affair 
between  the  scion  of  the  Drapers  and 
the  daughter  of  the  Worthings.  The 
young  people  meet  aboard  a  ship 
bound  for  England,  where  Draper 
presumably  is  destined  to  put  over 
a  business  deal.  Only,  of  course, 
even  making  allowances  for  Babbit- 
try,  Draper  would  never  have  been 
trusted  with  business  outside  a  coun- 
try store.  The  Englishman  and  the 
American  come  together,  display  the 
characteristics  expected  of  each  other, 
the  young  people  are  separated  by  the 
enmity  of  their  fathers  and  are 
brought  together  again  by  their  ef- 
forts, with  a  reconciliation  of  op- 
posing viewpoints. 

It's  an  obvious,  exaggerated  film, 
rather  amusing  in  spots,  chiefly  be- 
cause Mr.  Rogers  is  irresistible  and 
Mr.  Hare  leaves  nothing  undone  to 
make  a  caricature  of  his  role.  Irene 
Rich  is  graceful  as  Mrs.  Draper, 
Frank  Albertson  follows  in  his  fa- 
ther's footsteps  in  American  juvenil- 
ity, and  Maureen  O'Sullivan  is  nicely 
real  as  the  English  girl. 

Ladies  Must  Live. 
At  least  "The  Bad  One"  has  the 
perfect  title.  Succinct — and  truth- 
ful. It's  a  shame,  though,  for  it  is 
the  excuse  for  Dolores  del  Rio's  de- 
but in  an  all-talking  picture.  Her 
good  performances  in  silent  films 
have  earned  for  her  a  better  break 
than  this.  It's  a  wildly  improbable 
yarn,  the  first  half  of  it  comedy  which 
suddenly  becomes  melodrama  and 
leaves  the  audience  in  doubt  of  how 
to  accept  it.  So  they  let  it  go  with 
a  laugh  when  I  saw  it.  Audiences 
are  like  that. 

Vnd  no  wonder,  for  they  were 
asked  to  accept  Miss  del  Rio  as  IJta, 
an  inmate  of  a  Marseilles  bagnio, 
whose  job  it  was  to  lead  on  rough- 
necks and  then  scamper  upstairs  for 
virtue's  well-earned  rest,  while  her 
frustrated  admirers  consoled  them- 
selves with  a  sip  or  two  of  vin  ordi- 


naire. Well,  all  I  can  say  is  that 
Marseilles  has  changed  since  I  saw  it. 
Lita's  high-spirited  playfulness  even 
extends  to  giving  a  key  to  her  room 
here  and  there,  but  the  keys  never  fit 
and  the  men  accept  Lita's  prank  for 
her  enjoyment  of  it.  "Only  love  will 
unlock  my  door,"  she  says  roquishly. 
Then  comes  one  Flannagan,  a  wise- 
cracking sailor  from  Brooklyn,  who 
is  Edmund  Lowe  minus  his  marine 
uniform,  but  very  much  himself  for 
all  that.  After  a  rollicking  flirtation 
they  are  to  be  married,  Lita  arrayed 
in  a  mantilla  that  the  most  high- 
priced  prima  donna  would  covet  for 
the  last  act  of  "Carmen."  Flanna- 
gan  finds  her  struggling  in  the  em- 
brace of  a  returned  seaman,  where- 
upon in  the  scuffle  the  intruder  is 
killed,  and  presently  Lita  and  the 
Brooklynite  are  in  court  charged  with 
murder.  Flannagan  is  sentenced  to 
imprisonment  and  Lita,  to  prove  her 
love,  agrees  to  marry  a  cruel  guard. 
There's  a  riot,  an  explosion,  freedom, 
and  a  tug  headed  for  Brooklyn, 
where  you  feel  that  Lita  will  be  dis- 
covered for  the  movies.  Really, 
really. 

A  Bad,  Bad  Man. 
"Beau  Bandit"  is  pleasant ;  routine, 
but  not  slipshod.  As  such,  it  will  get 
by  nicely — if  you  don't  expect  too 
much.  It's  all  about  a  hold-up  man 
named  Montero,  strictly  a  bad  man  of 
musical  comedy  gayly  caparisoned  as 
a  Mexican  or  Spaniard,  who  is  hired 
by  the  villain,  a  land  shark,  to  mur- 
der his  rival  in  love.  Montero  ac- 
cepts the  job,  but  with  amusing 
craftiness  makes  a  counter  proposi- 
tion to  the  rival  and  then,  getting  the 
villain  in  a  tight  corner,  he  demands  a 
higher  price  for  sparing  his  life. 
There  is  a  good-natured  surprise  fin- 
ish, all  tending  to  make  the  picture 
an  hour's  harmless  pastime,  with  ex- 
hausting demands  on  neither  players 
nor  auditors.  Rod  La  Rocque,  the 
bandit,  is  picturesque  looking  in  his 
colorful  trappings  and  plays  the  role 
exaggeratedly,  while  George  Duryea, 
seldom  seen,  comes  to  light  nicely  as 
the  hero.  Doris  Kenyon  is  a  pleas- 
ing heroine  and  Mitcbell  Lewis  and 
Charles  B.  Middleton  contribute 
strong  melodramatic  studies. 

A  Laughing  Lumberjack. 
As  an  audible  actor  George  O'Brien 
is  still  a  novelty,  because  of  all  stars 
he  has  appeared  in  fewest  talkies.  I 
had  seen  him  in  only  one,  "Salute,"  a 
year  ago.  That  is  indeed  too  seldom, 
for  emphatically  Mr.  O'Brien  has  the 
gift  of  speech — easy,  natural,  spon- 
taneous, with  a  quality  of  light  ban- 
ter that  is  wholly  engaging.  There 
is    intelligence   and    a   sure   sense   of 


values  in  all  he  says,  yet  he  conceals 

all  signs  of  the  trained  speaker  and 

imcs  instead  the  conversationalist 

whose  utterances  seem   nut   to  he  di- 

rected  to  an  audience  for  effect,  hut 

are  overheard  by  listeners  in.     It  you 
know  what   I  mean  ! 

He  lends  this  to  "Rough  Ro- 
mance," a  picture  that  misses  lire  and 
fails  to  reach  the  goal  sought  for,  hut 
which  is  rather  interesting  neverthe- 
less. Its  chief  fault  is  its  deficiency 
in  love  inter,  aically  it  is  mag- 

nificent, with  superb  shots  of  a  snow- 
swept  lumber  camp  in  the  Northwest 
the    story    is    ordinary    and    mi- 
thy  oi  the  talent  and  money  ex- 
led  on  it.     BiUy  H'cst.  a  happy- 
icky    lumberjack    is    adored    by 
Reynolds,    the    storekeej 
wistful    daughter.       Her     father     is 


The  Screen  in   ReVieW 

mixed    up    in    a    shady    ileal    with    one 

Loup  LaTour,  whose  murder  of  a 
trapper  is  witnessed  by  BiUy  from 
the  height  of  a  giant  tree.  There  isn't 
much  more,  except  that  the  criminal 
is  punished  and  Mama  and  Billy 
come  to  a  sentimental  understanding. 
A  dance-hall  sequence  brings  in  sev- 
eral musical  numbers.     In  this,  as  in 

all  others,  Mr.  O'Brien  is  entirely 
capable. 

The  heroine  is  Helen  Chandler, 
whose  catch  in  the  throat  seems  ever 
ready  to  break  into  tears  over  the 
sheer   quaintness   of    her    role,    but    is 

said  to  be  sensitive  acting  by  some. 

Certainly  it  isn't  the  acting  of  a  Hol- 
lywood CUtie.  Antonio  Moreno,  Noel 
Francis,  and  Eddie  Borden  are  some 

of  the  others. 


<>7 


Long  Live  Our  Dear  Queens) 

Mane  Dressier  and  Polly  Moran 
are  the  star-,  of  "Caught  Short."  N  on 
knOH  what  that  mean-,  bi.ud  coin- 
ed) performed  as  no  others  could 
offer  it.  ^  es,  it's  funny,  \ei  \  hu- 
man, intimate,  expert — with  never  a 
dull  moment  and,  to  me.  a  life-saving 
relief  from  the  drawing-room  and 
lemon-or  cream  school  of  entertain- 
ment. It's  impossible  to  tell  all  that 
the  ladies  do  to  mike  you  Like  them 
while  you  have  a  good  time.   Enough 

to  say  that  they  are  rival  boarding- 
house  keepers,  the  SOn  of  i.nc  ill  |o\e 
with  the  daughter  of  the  other,  and 
that  sudden  riches  from  Speculation 
in  the  stoek  market  provide  i 
quence  which  enables  one  mother  to 
outdo  tin-  other  in  ritziness.  The 
1      I  •lined  nil  page  ins 


„  Between  the  Stars  and  the  Fans 

Continued   irom  page  _J 
such  a  time.     Right  on  tbe  dot  tbe    airplanes.      And    only    several    thou- 
old  ladv  was  at  the  station  to  see  ber     sand    dollars    each!      The    salesmen 


favorite.  Ramon  warmly  invited  her 
to  visit  him  whenever  she  came  to 
California. 

She  took  him  at  his  word  and  came 
to  Hollywood  and  stayed  at  the  Xo- 
varro's  domicile  for  six  weeks. 

To-day  Miss  Farrell  gets  fan  mail 
of    her   own,    in    which    the    writers. 


slink  away  fully  convinced  that  Mr. 
Forbes  is  a  tightwad  and  that  his 
secretary  is  as  mean  as  they  make 
them.  All  the  same  they  don't  give 
up.  Which  accounts  for  the  remark 
made  in  the  beginning  about  Hazel 
getting  insomnia. 

Joan  Crawford  and  Douglas  Fair- 


having  heard  of  this  exciting  event,     banks.  Jr.,  have  a  very  efficient  secre 


declare  they  are  quite  willing  to  visit 
Novarro.  Maybe  Miss  Farrell  re- 
grets her  kindheartedness. 

While  Ruth  Giatterton  was  a  star 
on  Broadway,  she  led  a  peaceful  life. 
Her  secretary.  Hazel  Gray,  also  led 
a  tranquil  existence.  But  now  all 
that  is  over.  Since  coming  to  Holly- 
wood. Hazel  has  learned  what  in- 
somnia 

"The  picture  people  must  be  the 
only  ones  who  are  pestered."  she  de- 
clared. "In  New  York  there  were 
occasional  solicitors,  but  never  any- 
thing like  out  here." 


tary  in  a  well-mannered  gentleman 
by  the  name  of  Mitchell  Foster.  No 
one  could  be  more  polite  than  he,  but 
it  would  be  hard  to  convince  strange 
callers  at  the  Crawford-Fairbanks 
domain  of  this. 

Not  long  ago  a  determined  woman 
from  Kansas  City,  Joan's  birthplace, 
called  about  nine  o'clock  one  morn- 
ing, demanding  to  see  la  Crawford. 
Mr.  Foster  in  his  best  manner  tried 
to  explain  that  he  could  not  wake 
Miss  Crawford  to  speak  to  a  stranger. 
Miss  Crawford  had  been  working 
late  the  night  before  and  would  not 


:rav  also  looks  after  Ralph  arise  before  eleven,  at  the  earlii 

Forbes*   secretarial   affairs.      And    so         The   woman   chanced    later  to   see 

she  has  to  fend  off  two  of  everything.  Joan  on  the  Boulevard  and  made  her- 

■-■  the  studio  as  well  self  known.     "I'd   like  yon  to  know 

as  the  home.    Xaturallv,  Hazel  is  sent  that    you  have   a   most    ill-mannered. 


to  face  the  go-getters.     She  is  a  lady- 
like young  person.     But  she  can  say 
i  the  l>cst  of  them. 

n  oman,  with  whom  M 
ChaMerton  had  done  a  lot  of  busi- 
rray  a  large  com- 
mon if  she  would  influence  Miss 
Chatterton's  purchases.  She  not  only 
had  the  offer  turned  flown,  but  li 
Chatterton's  patronage.  Need  I  say 
she  scarce! v  regards  Hazel  kindly? 

From    Mr.    Forbes,    Hazel    has   to 
fend   off   those   wishing   to    sell    him 


disagreeable  secretary,"  the  indignant 
matron  asserted.  "He  was  most  rude 
to  n 

Seekers  after  Fairbanks,  Jr..   feel 
the    same    about    Mr.    Foster.      Tt    is 
well  known  that  young  Doug  is  quite 
a    hand     at     sculpture     and     writing 
•v.    Eager  Belf-expressionisl 
•  the  home. 
Weird  pictures  that  no  healthy  per- 
son would  have  hanging  on  the  wall 
ubmitted  to  Mr.  Poster. 
"I'm   sorry."   he  tells   the   artists, 


"but  I  know  Mr.  Fairbanks  would 
not  buy  any  more  pictures  at  this 
time.     He  has  all  he  needs." 

"If  he  saw  this  he'd  buy  it  right 
away,"  the  blazing  genius  snorts. 
"What  do  you  know  about  art  ?" 

Between  these  bickerings.  Mr.  Fos- 
ter has  also  to  contend  with  the  poet. 
Could  Mr.  Fairbanks  assist  him  in 
having  his  verses  published?  Mr. 
Foster  believes  Mr.  Fairbanks  could 
not.  Let  him  read  them,  the  poet 
urges.  If  only  he  saw  the  actor  per- 
sonally he  knows  everything  would 
be  all  right. 

Mr.  Foster  is  sorry  again. 

The  only  thing  that  makes  me 
wonder  is  how  Mr.  Foster  keeps 
such  a  pleasant  expression  and  main- 
tains  such  suave   manners. 

Gladys  Young,  secretary  to  Con- 
stance Bennett,  is  the  one  exception. 
She  was  a  hairdresser  at  the  I 'a the 
studio  when  Miss  Bennett  met  her. 
She  did  her  work  so  well  that  Connie 
engaged    her   as   personal    secretary 

and  took  her  to  Paris.  This  started 
Gladys'  jo!)  with  such  excitement  that 
she  declares  being  a  secretary  to  a 

star  i-  about  the  best  thing  out.  To 
make  herself  more  valuable,  she  is 
studying  French.  Her  next  trip  to 
Paris  is  going  to  mean  more  to  her. 
Troubled  by  solicitors  and  such? 
Not  a  bit  of  it.  Life  is  grand  for 
Gladys.  Miss  Bennett  is  rather  new 
to  Hollywood,  s,,  Gladys  may  | 
her  Waterloo  yet. 

If  not.  I  advise  the  tormented 

retari  ■  t  in  touch  with  her  and 

find  out  bow  she  manages  to  keep  so 
elated  and  free  while  guarding  Miss 
Bennett  from  the  outside  world. 


98 

Continued  from  page  31 

and  fifteen,  although  by  that  time  it 
was  more  a  question  of  knowing 
what  you  wanted.  They  called  you 
stubborn,  didn't  they?  When  you 
were  six,  did  you  get  into  trouble  by 
carelessly  eating  something  that  made 
you  ill,  or  running  under  the  wheels 
of  a  car:  Both,  I  imagine,  with  such 
a  piece  of  quicksilver  as  you! 

From  seven  to  ten  you  were  very 
bright  in  school,  and  reasoned  like  a 
girl  twice  your  age,  while  from  ten 
on  you  became  the  little  Miss  In- 
dependence that  I  have  just  de- 
scribed.  You  did  calm  down  a  lot 
toward  fifteen  and  became  very,  very 
busy  in  a  different  way,  and  there  is 
no  doubt  in  your  mind  that  it  was 
hard  work,  as  the  letter  in  your  name 
clearly  indicates. 

All  this  time  you  were  growing 
more  mature,  more  positive,  even  if 
you  showed  it  in  a  less  exuberant 
way  than  before,  and  at  seventeen 
you  were  standing  at  the  beginning 
of  a  wonderful  group  of  letters  that 
promised  you  an  unexpectedly  large 
income  he  fore  you  were  twenty-one, 
great  success  as  an  artist  and  real 
happiness  in  love  between  twenty-one 
and  twenty-five,  and  very  soon  after 
that  positive,  undoubted  wealth. 

But — dear  Loretta — but!  From 
seventeen  to  twenty-one  you  were  to 
come  suddenly  into  money,  it  is  true, 
but  that  period  was  also  marked  as 
the  worst  one  in  your  whole  name, 
forming  a  combination  that  reads 
cross-bearing,  trouble,  loss.  The 
money,  when  it  came,  would  be  lost 
almost  as  soon  as  won.  It  was  no 
time  in  which  to  begin  anything,  least 
of  all  something  tied  up  with  your 
whole  life.  The  only  thing  to  do  was 
to  mark  time  and  take  no  chances. 
And  what  did  you  do,  after  living  in 
this  letter  one  year,  just  long  enough 
to  get  the  vibration  of  it  well  marked 
in  your  life?     You  got  married! 

I  have  learned  of  this  only  to-day. 
Forgive  me  if  I  say  that  I  wish  it 
were  not  true.  This  may  seem  a 
strange  thing  to  say  to  a  bride,  I 
know,  but  1  want  you  to  accept  it 
from  my  heart,  because  all  I  know 
of  you,  or  can  tell  you,  is  from  the 
letters  of  your  name.     There  are  so 


Tke  Master?  of  Your  Name 

many  kinds  of  love,  and  the  one  that 
now  holds  you  in  its  spell  is  not  the 
kind  that  can  make  you  happy.  Even 
if  the  young  man  in  the  case  loves 
you  dearly,  and  is  happy  with  you  as 
bis  wife,  you  do  not  blend  in  natures 
at  all.  I  feel  that  the  two  of  you 
simply  bumped  into  each  other  like 
two  happy  bees  in  a  garden,  dazzled 
by  the  light  and  drunk  with  the  per- 
fume of  the  flowers,  and  said,  "All 
right,  let's  go !"  Naturally  the  least 
opposition  made  you  a  thousand 
times  more  determined.  And  there 
you  are. 

The  adding  of  your  marriage  name 
to  your  own  breaks  down  the  greater 
part  of  the  activity,  the  eager,  in- 
quiring spirit,  the  material  success, 
and  leaves  you  subject  to  excessive 
emotionalism,  to  hard  work  with  only 
a  small  part  of  its  value  really  paid 
for,  to  a  magnetism  for  men  that  you 
will  not  know  how  to  handle,  all  of 
which  is  in  such  complete  opposition 
to  your  original  nature  that  you  will 
be  at  sea.  You  will  gain  a  great  deal 
in  intuition,  and  Heaven  knows  you 
will  need  it.  Do  you  see  now  what  I 
mean  by  saying  that  your  two  names, 
your  two  personalities,  do  not  blend, 
except  for  the  excitement  of  the  mo- 
ment ?  How  many  girls  do  you  know 
who  have  changed  somehow  very 
radically  since  marriage?  Many,  I 
am  sure. 

Please,  please  don't  think  that  this 
has  anything  to  do  with  the  per- 
sonality of  the  man  you  have  mar- 
ried, as  far  as  his  own  character  is 
concerned.  There  are  many  girls 
with  whose  names  his  would  blend 
for  wonderful  love,  happiness  and 
success.  But  yours  is  not  one  of 
them.  Furthermore,  your  middle 
name  in  itself  carries  a  great  deal  of 
hardship  in  love,  and  it  will  take  a 
very  powerful  total  to  overcome  it 
at  best. 

Under  any  circumstances,  having 
married  under  the  letter  you  did,  and 
coming  within  three  years  into  the 
most  negative  single  letter  in  your 
life  will  break  up  your  marriage  per- 
haps in  a  few  months,  and  certainly 
within  five  years.  And  the  entire  ex- 
perience will  have  been  for  the  best. 


Yours  is  a  stunning  nature,  and  the 
vibrations  of  any  marriage  cannot 
possibly  overlay  it  entirely.  In  fact, 
your  lively  intelligence,  your  fine 
imagination,  the  power  of  that  quick, 
creative,  pulsating  power  within  you 
could  not  be  satisfied  with  nothing 
more  vital  to  bite  into  than  taking 
orders  on  a  motion-picture  set.  You 
are  too  young  not  to  be  living  life,  as 
well  as  acting  it,  learning  that  it  is 
harsh,  as  well  as  pleasant. 

With  your  original  name,  which 
you  will  undoubtedly  take  up  again 
some  day,  all  your  material  success, 
your  money  and  your  fame  will  be 
derived  from  some  artistic  activity 
until  you  are  fifty-six.  I  am  sure 
that  you  will  write  as  well  as  act, 
for  you  have  a  great  gift  for  it. 
You  will  be  wealthy  and  independent 
from  thirty  on,  having  passed 
through  a  period  of  trouble  that  you 
cannot  possibly  escape,  marriage  or 
no  marriage.  You  may,  if  you  are 
free  before  twenty-five,  marry  by 
that  time  for  real,  spiritual  love,  but 
fortunately  you  will  also  use  your 
bead.  After  that  I  must  admit  that 
you  will  not  be  interested  in  men  at 
all  for  purely  romantic  purposes.  If 
you  marry  after  thirty-five — don't 
try  it  between  twenty-five  and  thirty- 
five— it  will  be  for  practical,  even  if 
also  for  emotional  reasons.  You  are 
one  of  the  world's  most  self-sufficient 
girls  in  every  way,  as  you  will  soon 
discover. 

Since  you  cannot  help  analyzing  all 
experience,  both  the  happiness  you 
now  feel  and  the  confusion  connected 
with  it  will  be  material  from  which 
you  will  draw  wisdom  and  under- 
standing for  the  future  to  use  in  ar- 
tistic expression,  as  well  as  in  life. 
Everything  comes  to  you  in  large 
doses,  whether  for  happiness  or  un- 
happiness,  and  you  can  stand  the 
strain,  I  know.  You  are  like  a  bowl 
bubbling  over  with  a  heady  mixture 
of  ingredients  unknown  to  yourself, 
and  as  they  settle  the  fine  reality  will 
come  to  the  top.  The  fumes  are  a 
bit  dizzying  right  now,  but  the  per- 
fume of  the  settled  draft  will  be 
sweet. 


The  MvsterV  of  Your  Name 

Continued  from  page  30  "  "  * 

Financial   dangers  are  just  as  ap-  cannot  drive  herself  to  real  accom-         But  there  are  letters  and  numbers 

parent  as   financial   success.      Even  a  plishment,   while   on  the   other  hand  in  every  life  that  indicate  .the  need 

good  number  may  be  hampered  in  a  such  genius  may  break  forth  at  many  for  lying  low,  for  being  cautious,  for 

hundred    ways.      The    number    that  places   through   the   uncontrolled   ac-  waiting  a  while.     These  periods  are 

would  bring  plenty  to  the  man  with  tivity  of  some  other  woman  and  only  necessary  to  the  balance  of  life.     A 

self-assurance  and  originality  will  be  cause    confusion    because    it    has    no  man  whose  name  did  nothing  but  go 

helpless    before   the    stick-in-the-mud  goal.      Self-assertiveness    is    fine    for  up   and   up   and    up   would    soon  be 

attitude    that     his    neighbor    reveals,  the    boy    who    thinks    himself    small,  crazy,  although  the  man  who  is  down 

There    mav    be    wonderful     creative  but  it  can  be  a  curse  where  there  is  can  never  believe  it. 

genius    dormant    in    a    woman    who  no  intelligence  and  tact  to  guide  it.  Continued  on  page  115 


Continued   from  page  61 

year    some    member   of    the    family 
would  be  leaving   New    York  at  the 

very  same  time  that  another  was 
leaving  Los  Angeles.  It  occurred 
three  or  four  times." 
Mr.  Blankenhorn  was  on  the  way 
about  the  time  that  Miss  Rich's 
daughter  was  coming  West  this  year. 
Irene  wa  a  new  play  with  her 

friend  Mrs.  Rob  Wagner. 

Kirkwood  and  Son. 

James  Kirkwood  retains  custody 
of  his  six-year-old  son  under  the 
terms  i>i  the  divorce  decree  which 
separated  him  from  Lila  Lee. 

We  visited  the  location  of  "The 
Spoilers,"  and  Jim  had  his  hoy  with 
him  while  he  was  playing  in  the  pic- 
ture. 

It'-s  a  curious  and  somewhat  tragic 
-this  one  of  a  youngster  sep- 
arated from  his  mother,  hut  Jim  is 
exceedingly  devoted  to  the  boy.  and 
has  manifested  his  devotion  by  keep- 
ing the  youngster  with  him  con- 
stantly. 

Kirkwood  will  hardly  be  recog- 
nized in  the  role  of  Dextry  in  "The 
Spoilers."  He  is  cast  as  a  heavily 
bearded  miner. 

Location    Gleanings. 

On  "The  Spoilers"  location,  sixty 
miles  from  Hollywood,  and  a  typical 
movie  camp,  we  also  saw  Clary 
Cooper.  Betty  Compson.  Kay  John- 
son. William  Boyd.  Rita  Carewe.  and 
others. 

Lupe  Yelez  came  to  pay  a  visit  to 
Gary  while  we  were  there,  and  Betty 
was  being  kidded  about  young  Hugh 
Trevor,  who  had  been  noted  dancing 
constantly  with  her  at  a  party.  Betty 
didn't  exactly  deny  her  interest. 

Kay  Johnson  was  going  about  in  a 
trailing  riding  habit,  with  a  hat 
creased    fedora   fashion. 

Though  it  didn't  exactly  fit  in  with 
the  Nome.  Alaska,  setting,  she  had 
put  a  tiny  Alpine  feather  in  the  hat. 

"Xow,"  she  said,  "if  there's  going 
to  be  any  singing  in  this  picture.  I'm 
going  to  do  it.  Xot  only  that,  but 
I'm  going  to  yodel." 

The  Youngest   Croesus. 

A  most  remarkable  baby!  Yes, 
how  else  but  remarkable  is  one  to 
consider  a  three-weeks'-old  infant, 
who  earns  money  at  the  rate  of  ap- 
proximately $10,000  a  week. 

Such  were  the  prorata  garnerings 
of  June  Dwan  Smith,  in  "The  Little 
Accident."  who  made  her  picture 
debut  less  than  a  month  after  she 
was  born. 

A  tiny  baby  happened  to  be  essen- 
tial to  the  story,  and  permission  was 
obtained  from  little  Miss  Smith's 
mother  to  use  her.  The  State  Indus- 
trial  Welfare   Commission    wouldn't 


Hollywood   High   Lights 

permit  her  to  be  on  the  set  more  than 
twenty  minutes  a  day . 

For  that  tune  she  received  g 
Hence  the  boys  at  the  studio  got  out 
their  pencils  ami  figured  what  her 
weekly  stipend  would  amount  to  at 
that  rate.  1  'hey  determined  she  was 
a     ten-thousand-dollar-a-week     star. 

Which    is    high    even    in    the    m.. 
where  youngsters  are  famous  for  be- 
ing Croesu 

Erin's  Fair  Warbler. 
ne  more  reason  has  been  found 
why  a  little  Irish  girl  will  probably 
remain  in  America  indefinitely. 
Maureen  O'Sullivan,  it  has  been  dis- 
covered, possesses  a  singing  voice. 
And  if  you're  interested,  you  may 
hear  her  carol  a  tune  or  two  in  "Just 
Imagine."  for  which  De  Sylva, 
Brown,  ami  Henderson  are  writing 
the  songs.  And  when  we  name  De 
Sylva,  Brown,  and  Henderson,  it  is 
with  reason,  since  they  wrote  these 
unusually  popular  numbers  like  "I'm 
a  Dreamer — Aren't  we  All?"  and  "If 
I  Had  a  Talking  Picture  of  You." 

The   Lubitsch   Divorce. 

Just  as  if  there  weren't  trouble 
enough  with  separations  and  divorces 
among  the  stars,  what  should  have  to 
happen  but  that  our  old  friend  Ernst 
Lubitsch  is  being  sued  by  his  wife. 

We  have  always  been  very  fond  of 
both  Ernst  and  Leni  Lubitsch,  and 
therefore  regret  that  they  have  de- 
cided to  go  their  separate  ways. 

We  saw  Ernst  at  a  Hollywood 
affair  alone  on  the  day  that  the  pro- 
posed dissolution  of  his  marriage  was 
announced.  It  is  one  of  the  few 
times,  incidentally,  that  he  didn't  ap- 
pear in  public  with  his  wife  since 
they  came  to  Hollywood  years  ago. 

Cost  of  Monkeying  Around. 

Xo  motion  picture  has  caused  more 
of  an  uproar  lately  than  "Ingagi." 
Perhaps  you  have  seen  this  curiosity, 
supposed  to  be  an  impression  of  life 
in  darkest  Africa,  but  denounced  as 
a  fake  and  forbidden  a  showing  by 
Will  II.  Hays.  W'e  must  say  that  ft 
had  been  pretty  widely  released  be- 
fore the  edict  was  issued. 

At  all  events,  the  funniest  develop- 
ment was  when  a  colored  extra  by 
the  name  of  Hilton  Phillips  started 
trouble  through  the  State  Labor 
Bureau  over  the  pay  he  claimed  he- 
had  received  for  impersonating  a 
gorilla.  He  said  he  had  been  paid 
only  $6.50  for  making  a  monkey  of 
himself,  whereas  the  proper  stipend, 
he  cont ended,  was  $20. 

The    Conquering    Wedding. 
The    social    peak   of    t!  <  was 

bed  in  the  wedding  of  Bebe  I 
•o  Ben  Lyon.     It  was  an  elab- 
orate function  in  every   respect,   di- 


09 

vided  into  the  actual  ceremonj  to 
which  onlj  a  limited  numbei  "i 
Bebe's  and  Ben's  closest  friends  were 

uuiied,  ami  a  reception  immediate!) 
afterward  for  which  the  guesl  list 
ran  into  the  hundreds. 

lube  was  iii. uried  in  the  evening 
at  the  Beverl)  -Wilshire  I  [otel.     Foi 
malities  prevailed     more  than  at  any 
other  similar  r\ent  since  Bessie  I 

was  wed  to  William  Hawks.  |t  uas 
the  same  setting  in  which  Ruth  l\" 
land  was  married,  only  white  lilies 
and  dolphinium  prevailed  instead  of 
Easter  lilies  and  lilies  of  the  valley. 
The    dais    where    the    ceremony    was 

performed   was  candle-lighted,  huge 

candelabra  being  placed   there. 

Bebe's  wedding  gown  was  of  hand- 
woven  Italian  satin  of  ivory  tone,  the 
long  sleeves,  the  Juliet  cap  ami  the 
inserted  panels  in  the  gown  and  long 
train  being  of  real  Aloncpn  lace.  The 
most  distinctive  feature  of  her  cos- 
tume, however,  was  the  tiny  lace 
handkerchief  she  carried,  the  same 
that  her  grandmother  had  used  when 
she  was  married.  Her  bridal  bouquet 
consisted  of  twenty-four  white  or- 
chids and  hundreds  of  lilies  of  the 
valley,  and  her  cap  was  adorned  with 
the  conventional  orange  blossoms. 

The  bridesmaids,  including  Con- 
stance Talmadge,  Betty  Compson, 
Diana  Fitzmaurice,  and  other  old 
friends,  were  attired  in  rainbow- 
hued  net  gowns,  with  short  trains 
and  corresponding  picture  hats,  and 
carried  roses  that  matched  the  cos- 
tumes. Marie  Mosquini  caught  the 
bride's  bouquet. 

There  were  never  so  many  social 
functions  preceding  a  wedding,  and 
they  culminated  with  a  stag  party  for 
Ben,  and  a  soiree  for  the  charming 
bridesmaids  and  a  few  of  Bebe's  in- 
timate friends,  held  at  the  residence 
of  Mrs.  Billy  Sunday,  Jr. 

The  wedding  started  half  an  hour 
late,  and  there  was  that  true  note  of 
tensity  that  one  anticipates  at  very- 
formal  matrimonial  events.  Further- 
more, tears  were  shed  in  the  fashion 
of  all  serious  weddings  by  various 
us  present. 

One  saw  more  of  the  long-estab- 
lished  stars  at  this  particular  func- 
tion than  at  the  majority  of  those  that 
take  place  nowadays  in  Hollywood. 
Bebe  is  noted  for  keeping  her  friends, 
and  for  being  very  loyal  to  them. 

United — Doug  and   Bebe! 

Doug  and  getherl     That's 

a  new  alliance.  But  Fairbanks  and 
MiSS  Daniels  are  doing  the  two  prin- 
cipal roles  in  "Reaching  for  the 
Moon."  for  which  [rving  Berlin  has 
written  the  music.  (  hilv  Bebe  will 
sing.  Doug  won't  warble,  but  he  will 
do  just   such  a  dashing,  romantic  and 

agile  role  as  he  played  in  the  old 


100 

Continued  from  page  66 
Finally  I  came  downstairs  to  join 
the  group.  One  by  one  they  went  in 
to  make  their  test.  I  was  the  last, 
and  when  1  walked  on  onto  that  tre- 
mendous stage  thai  Mr.  Griffith  had 
at  Mamaroneck,  seated  on  the  set 
were  Mr.  and  Mrs.  Raymond  I  latton 
who  awed  me  twice  as  much  as  Mr. 
Griffith  did.  The  latter  was  charm- 
ing, lie  a^ked  me  what  I  would  like 
to  do.  I  told  him  anything  he  sug- 
gested. Knowing  that  I  was  playing 
in  stock,  he  asked  me  if  I  would  like 
to  play  any  scene  from  any  of  the 
plays  I  had  done.  I  told  him  no.  He 
suggested  that  I  rehearse  for  his  ben- 
efit, as  well  as  for  the  cameras,  the 
scene  that  Mr.  Barthelmess  had  done 
in  "The  Love  Flower." 

I  remember  my  business  was  to 
enter  a  long  set,  stand  by  a  chair  and 
denounce  my  sweetheart.  I  was  sup- 
posed to  have  seen  her  kiss  some  one 
else,  but  I  was  not  supposed  to  know 
that  she  kissed  him  out  of  compas- 
sion because  she  knew  he  was  to  live 
only  a  few  weeks.  An  argument  fol- 
lowed, and  I  was  supposed  to  break 
down  in  tears.  This  was  all  done  in 
a  long  shot.  I  was  then  told  to  go 
out  front  and  wait  my  turn  for  the 
close-up  of  the  same  action,  which 
finally  came  about  seven  thirty  that 
evening.  Upon  completion  of  the 
close-up  Mr.  Griffith  placed  his  arm 
on  my  shoulder  and  said,  "Of  course, 
you  haven't  the  physique  of  a  Bar- 
thelmess but  I  might  be  able  to  teach 
you  as  I  have  taught  him."  We 
talked  at  some  length.  Of  course  I 
told  him  that  the  ambition  of  my  life 
was  to  work  for  him.  He  said  he 
would  let  me  know  how  the  test 
turned  out. 

The  following  week  saw  the  com- 
pletion of  my  engagement  with 
Blaney,  and  no  word  from  Mr.  Grif- 
fith. That  week  went  by.  The  fol- 
lowing Monday  dawned.  But  for  the 
generosity  of  Arthur  William  Brown, 
the  well-known  illustrator  who  lent 
us  seventy-five  dollars,  we  would 
have  found  ourselves  homeless. 


I  Stop  to  Look  Back 

Next  day  the  newspapers  an- 
nounced that  the  D.  W.  Griffith  corn- 
pan}-  had  left  for  Miami  to  make  ex- 
teriors for  "The  White  Rose."  Elsa 
and  I  gave  up  hope  at  this  news. 
Shortly  afterward  I  was  sent  to  the 
Fox  studio  for  a  test.  They  were  to 
let  me  know  Saturday  morning 
whether  I  was  successful.  We  de- 
cided to  go  to  New  Haven  to  see  my 
parents  for  the  week-end.  We  re- 
turned early  Monday  morning  to  find 
a  house  full  of  messages  from  my 
agent.  I  went  to  see  her,  with  the 
startling  discovery  that  I  had  both 
jobs !  The  Griffith  company  had  not 
gone  away  after  all.  It  was  only 
natural,  being  unknown  and  obscure, 
to  accept  the  Griffith  offer,  though 
the  Fox  salary  was  larger. 

We  went  over  to  the  Griffith  of- 
fice to  sign  the  contract,  which  was 
for  only  one  picture,  "The  White 
Rose."  My  salary  was  $125  a  week. 
To  say  that  I  walked  on  clouds  is  to 
put  it  mildly.  Although  it  was  noon 
in  Times  Square,  there  was  not  a 
soul  in  the  world  but  ourselves. 
Neither  Elsa  nor  I  could  believe  our 
luck.  As  our  finances  were  at  such  a 
low  ebb,  the  thought  of  being  paid 
$125  a  week  was  the  thing  that  im- 
pressed us  most.  The  following  day 
we  started  rehearsals. 

I  had  convinced  myself  that  I  could 
overcome  the  awe  that  Mr.  Griffith 
inspired  to  the  extent  that  I  would 
be  able  to  give  a  good  account  of  my- 
self, but  when  I  walked  into  the  re- 
hearsal hall  and  found  myself  not 
only  in  his  presence,  but  also  that  of 
Carol  Dempster,  Ivor  Novello,  who 
had  been  brought  from  England,  and 
sitting  demurely  in  a  corner  that 
great  actress,  Mae  Marsh,  I  fairly 
quaked.  All  my  well-ordered  plans 
fled.  All,  however,  realizing  that  I 
was  a  newcomer  and  a  stranger  to 
the  procedure  followed  by  Mr.  Grif- 
fith, made  my  way  as  easy  as  pos- 
sible, as  also  did  Mr.  Griffith  himself. 

His  method  was  to  sit  in  a  high 
chair,  smoking  innumerable  cigarettes 


and  let  the  entire  action  of  the  pic- 
ture unfold  itself  in  rehearsal.  But 
in  the  absence  of  one  member  of  the 
cast  we  were  called  upon  to  play  parts 
other  than  our  own.  Imagine  my  as- 
tonishment the  first  morning  on  be- 
ing told,  "Hamilton,  go  over  and 
stand  in  the  corner ;  you  are  a  horse." 
Or  the  next  day,  "Hamilton,  walk 
into  this  scene  now,  and  you  are 
an  old  colored  mammy."  And  then 
of  course  when  it  came  my  turn  to 
play  John  White,  my  own  part,  I  had 
to  leave  my  characters  of  a  horse  and 
a  colored  mammy  and  play  John 
White.  This  went  on  for  three  weeks, 
in  which  every  member  of  the  cast 
was  thoroughly  familiar  with  not 
only  his  own  part  but  that  of  all  the 
others  as  well.  We  left  for  Miami 
to  begin  shooting  of  exteriors.  A 
Griffith  contract,  a  bride,  a  trip  to 
Florida,  and  $125  a  week!  Could 
any  one's  life  be  more  complete? 

It  was  a  marvelous  honeymoon, 
the  only  fly  in  the  ointment  being 
that  the  company,  minus  wives,  was 
to  spend  two  weeks  at  New  Iberia, 
Louisiana,  a  very  small  town,  to  get 
the  necessary  bayou  locale,  when  we 
were  to  join  the  rest  of  the  company 
in  Miami. 

My  part  in  "The  White  Rose"  was 
a  small  one,  and  so,  as  Mr.  Griffith 
worked  very  slowly,  I  had  a  great 
deal  of  time  to  myself,  which  made 
it  a  glorious  vacation. 

We  returned  to  New  York  early  in 
March,  1923,  finished  the  picture,  and 
to  my  great  astonishment  I  found 
that  Mr.  Griffith  thought  well  enough 
of  me  to  give  me  a  five-year  contract. 

One  of  the  high  lights  of  our  trip 
from  New  York  was  that  Bert  Sutch, 
the  assistant  director,  told  me  that  he 
was  not  supposed  to  say  anything 
about  it,  but  Mr.  Griffith's  next  pic- 
ture was  to  be  a  story  of  the  Ameri- 
can Revolution,  and  that  I  was  con- 
sidered for  the  principal  character ! 
From  rags  to  riches,  from  obscurity 
to  fame,  indeed ! 

TO    BE    CONTINUED. 


^    •    , ,  «    Wken  a  Lack  Rolls  for  Luck 

Continued  from  page  57  "  * 

dollars    in    my    pocketbook — all    the    year   contract.      I    took  the  contract 

home  to  look  it  over.  It  sounds  like 
fiction,  but  that  same  night  Fox  called 
and  offered  me  a  contract,  too. 
Woods  stood   for  everything  I'd  al 


in    my 
money  I  had  in  the  world.     Tf  you 
can  make  one  heap  of  all  your  win- 
nings,   and    risk    it    on    one   turn    of 
pitch-and-toss.' 

"I  rented  a  room  with  my  two  dol- 
lars,  and   concentrated   like  a  Hindu 
Then  I  went  back  and  got  the 
part. 

"Things  went  along  fairly  smoothly 
after  that.     I  was  getting  along,  but     Europe   and   been    one   of    a   crowd. 
not  setting  the  world  afire.     When  I     But  he  took  a  chance  and  became  fa- 
was  playing  in  'F.lmer  Gantry,'  I  had     mous.       So    did     Steve     Brody.       I 
an  offer  from  Al  Woods  for  a  five-     signed    with    Fox.      Everything    out 


here  was  like  a  new  world.  People 
at  the  studio  were  lovely — at  first. 
But  then  they  began  shipping  recruits 
from  Broadway  out  by  the  trainload, 
and  I  was  one  of  a  crowd  asrain.     In 


ways  wanted,  everything  I  knew  and     a  year  I  played  two  and  a. half  parts. 

The  half  part  was  a  despicable  bit  in 
'Words  and  Music'  And  neither  of 
the  other  pictures  amounted  to 
much." 

I  opened  my  mouth  to  expostulate. 
It  was  in  one  of  those  two  pictures 
I  had  first  seen  Helen.     They  were 
Continued  on  page  114 


cared     ahout,  everything     I'd    been 

striving    for.  Fox    represented    the 
unknown. 

"Columbus  could    have    staved 


in 


Continued  From  pag< 

handed  around  Hollywood  to  many 
people  "Be  yourself,"  on  the  strength 
of  the  showing  made  by  Gloria  and 
Norma.      Misdirected    ambition    has 

had  all  too  much  to  do  with  the  dis- 
turbances caused  in  the  galaxy  of 
favorites. 

However,  the  rule  doesn't  work 
without  exception.  Our  friend  Wil- 
liam Powell,  lor  instance.  He  was 
nearly  always  the  heavy  in  the  good 
old  days,  while  in  the  Philo  I 
stories  and  others  he  does  duty  as  the 
hero.  Indeed,  he  even  started  in  that 
direction  when  he  appeared  in  "Inter- 
ference."' The  character  of  Philip 
Voazt  was  distinctly  of  that  genre, 
and  certainly  Powell  was  the  out- 
standing hit  in  the  picture.  More 
adult  heroes  seem  to  he  demanded  in 
the  talkies,  anyway. 

Behe    Oar.  goes    by    con- 

trary -  One  can't  regard  her  suc- 
o  —  in  "Rio  Rita"  apart  from  the 
musical  embellishments.  But  then 
Bebe  truly  hurled  herself  into  a 
course  of  study  to  perfect  herself  for 
the  role.  She  took  a  lesson  every  day 
for  weeks  and  weeks,  and  concen- 
trated on  her  debut  as  a  singing  star, 
above  all  other  things.  And  that  is 
amazing,  too.  in  view  of  the  fact  that 
she  -  no  broad  understand- 

ing of  music. 

Jeanette  Loff  recently  proved  a 
surprise  in  a  different  fashion  mu- 
sically. Miss  Loff  is  undoubtedly  the 
bright  figure  of  the  Paul  YYhiteman's 
ng  of  Jazz."  and  many  expressed 
astonishment  at  her  capability  as  a 
singer.  Especially  did  the  heads  of 
one  company  that  had  allowed  her 
contract  to  lapse  wonder  why  thev 
had. 

But  then  nearly  everybody  had  for- 
gotten that  Miss  Loff  had  begun 
working  years  ago  toward  the  des- 
tination, when  she  played  an  organ 
in  a  theater  in  the  Northwest.  She 
had  an  inbred  musical  sense,  so  it 
't  so  much  of  a  step  for  her  to 
become  a  revue  prima  donna. 

It's  the  apparently  neglected  con- 
siderations in  the  past  lives  of  stars 
that  have  often  helped  them  in  their 
talkie  careers,  and  caused  them  to 
shine  forth  in  new  light  on  the  screen. 
More  than  a  few  had  stage  training 
at  one  time  or  another,  and  though  it 
was  far  removed  from  their  present 
careers,  it  helped  when  they  had  to 
draw  on  new  resources. 

John  Boles'  introduction  in  "The 
rt   Song."   and   the  big  impres- 
sion he  made  in   "Rio   Rita."   "The 
King  of   Jazz."   and    other   pictures, 
can  be  ascribed  to  such  past   activi- 

AIso  he  has  faithfully  de 
himself    to    voice    study,    even    since 
California. 

Boles  was  a  negligible  personality 


For  Better,  or  for  Worse? 
before    the    talkies   arrived,    playing 

mostly   society   leads  and  the  like   for 
Stars.      But  when  a  singer  was  needed 

he   stepped   right   into  the  spotlight, 

and    also    became    an    outdoor    i 
Even    yet     Holes    is    not    a    polished 
actor. 

Bessie  Love's  talent  excited  a 
great  deal  of  astonished  comment, 
though    there    was   no    reason    why    it 

should   have.     Am-   one   who   knew 

Bessie  recalls  that  she  was  the  life 
of  the  party  on  more  occasions  than 
could  he  numbered,  with  her  patter 
singing  and  her  ukulele  playing.  Also 
Bessie  once  studied  music  seriously, 
and  right  before  "The  Broadway 
Melody,"  as  is  well  known,  she  was 
on  a  tour  of  the  song-and-dance  cir- 
cuits. Bessie's  performance  in  "The 
Broadway  Melody"  wasn't  such  a  big 
departure,  either,  from  many  g 
portrayals  she  had  given  in  the  past. 
The  only  drawback  was  that  most 
of  these  good  portrayals  were  in  pic- 
tures that  failed  to  click. 

"Sure  things"  didn't  work  out  in 
every  instance,  however,  in  the 
talkies.  There  was  Colleen  Moore's 
debut,  when  she  picked  a  pat  role 
for  herself  in  "Smiling  Irish  Eyes." 
Who  more  logically  suited  to  burst 
forth  as  an  Irish  comedienne  than 
little  Miss  Moore,  nee  Kathleen 
Morrison?  It  might  be  termed  her 
hereditary  right. 

But  "Smiling  Irish  Eyes"  missed. 
It  had  an  unbelievable  plot,  and 
tended  also  to  burlesque  the  Irish, 
which  is  always  bad  business  in  pic- 
tures, since  the  days  of  "The  Calla- 
hans  and  the  Murphys." 

Regarding  Colleen's  second  pic- 
ture. "Footlights  and  Fools,"  I  have 
always  felt  that  that  film  was  a  mis- 
take in  the  attempt  to  feature  her  as  a 
song-and-dance  star.  For  all  that,  it 
showed  unmistakably  that  Colleen 
had  versatility  for  both  fun  and  seri- 
ousness. She  played  the  humorous 
and  dramatic  scenes  more  than  credit- 
ably. "Be  yourself.  Colleen,"  might 
be  good  advice  to  her. 

"Footlights  and  Fools"  was  the 
last  picture  Colleen  produced  under 
her  contract  with  First  National,  and 
rather  obviously  it  endeavored  to 
show  the  variety  of  her  tal< 
Doubtless,  this  was  done  partly  to 
impress  the  producer  fraternity,  but 
so  far  it  has  not  led  to  another  con- 
tract for  Colleen. 

Probably  nearly  a  dozen  noted 
stars  have  left  organizations  to  which 
they  have  long  been  aligned,  since  the 
talkies  came  in.  due  either  to  their 
own  dissatisfaction  with  their  pic- 
.  or  the  compan 

Then-  is  one  thing  that  is  pretty 
well  settled  ;  the  movie  colony  will 
have  to  fall  back  sooner  or  later  on 


101 

its  old-line  fa\ontes.  Tin-  new  play- 
ers aren't  really  such  hits  at  the  box 
office,  with  the  exception  of  the  lew 
like  Maurice  Chevalier,  Ruth  Chat 
terton,  Robert  Montgomery,  Law- 
rence Tibbett,  Chester  Morns,  Qaud- 
ette  Colbert,  Winnie  Lightner,  Marie 
I  h  essler,  and  possibly  others. 
The  stars  who  are  really  rising  to 

prominence    right    now    an-    the    ones 

who  were  popular  in  the  silent  days, 
and  wlio  seemed  to  retain  and  in- 
crease their  luster  when  they  became 
audible.      Edmund    Lowe,    William 

Powell.  Gary  Cooper.  Richard  Arlen. 

Will    Rogers,   Conrad    Nagel,   Mary 

Nolan.  Betty  CompSOn,  Constance 
Bennett — none  of  these  are  new- 
names. 

Most  of  this  group  have  not  dune 
anything  revolutionary  to  their  per- 
sonalities. On  the  other  hand  some 
players  like  Ronald  Colman  seem  to 
have  altered.  Colman  is  more  the 
comedian  in  the  new  game. 

Colman,  and  practically  all  the 
other  players  mentioned  above,  have 
enjoyed  the  breaks  in  good  pictures 
and  good  roles.  And  pictures  and 
roles  are  nowadays  just  about  ten 
times  as  important  as  they  ever  were 
before.  They  can  make  or  unmake 
a  cinema  sparkler  with  an  almost 
lightninglikc  effect.  So  it  behooves 
the  stars  to  watch  their  step  and  seek 
out  genuine  opportunities,  as  they 
never  did  in  the  past,  whether  it 
means  changing  their  personalities 
or  not. 

To  be  sure,  new  stars  will  glow  on 
the  horizon  just  as  new  stars  always 
have  from  year  to  year.  But  that 
doesn't  mean  any  such  disastrous 
shake-up  in  Hollywood  as  is  occa- 
sionally heralded.  The  stage  play- 
ers are  not  taking  over  the  colony, 
and  the  screen  needs  a  few  big  and 
well-known  winners  now  more  than 
it  ever  did.  because  there  has  been  a 
slump  to  prove  it. 

Stars,  or  more  likely  the  companies 
that  hire  them,  have  made  mistakes 
in  the  way  they  have  been  presented 
to  the  public  in  the  talkies,  but  the 
truth  of  the  matter  is  that  they  are 
not  dead  timber,  nor  in  many  cases 
ever  will  be.  Even  a  high-pitched 
voice  or  a  too  languorous  accent  can 
be  remedied  with  a  little  cultivation, 
and  maybe  a  high-pitched  voice  isn't 
altogether     a     detriment.       Theodore 

Roosevelt   had   one.     Also,   many  a 

famous  person  has  drawled  his  or  her 
syllables,  and  done  it  most  in- 
triguingly. 

The  stars  are  (  ).  K.  Thev  have 
just    been    caught    temporarih      some 

of  them— in  the   frenzied   folli< 

1929  30,    and    right     now,     it     seems, 
\tS  of  any  kind  just  aren't  a  suc- 
box  office. 


102 


^  Information,  Please 


information,   please.— So  your 

*  cat  had  kittens,  but  they  died?  What 
am  I  supposed  to  do,  revive  them?  Gary 
doesn't  give  a  home  address,  and  who 
said  he  lived  with  his  mamma?  He  was 
29  last  May  7th.  Lupe  Velez  is  21;  five 
feet  five  inches  tall.  Mary  Brian  is  22 
and  five  feet  two.  Nancy  Carroll  is  24, 
five  feet  three;  Clara  Bow  is  half  an  inch 
taller,  half  a  year  older.  Alice  White  is 
23,  five  feet  tall ;  Ann  Pennington,  about 
the  same  height,  and  33  years  old.  Jean 
Arthur  is  five  feet  four  and  gives  her 
birthday  only  as  October  17th. 

Freckle  Face. — So  your  curiosity  is  like 
that  of  the  unfortunate  cat?  But  it 
hasn't  killed  you,  has  it?  Ramon  No- 
varro  uses  his  mother's  family  name,  his 
own  being  the  unwieldy  Sameniegos.  He 
was  born  in  Durango,  Mexico.  Since  his 
talents  were  for  such  things  as  music  and 
dancing,  it  was  natural  that  he  should  be- 
come a  dancer  and  then  an  actor.  He 
appears  quite  short  when  you  meet  him. 
Norma  Shearer  is  five  feet  one ;  Patsy 
Ruth  Miller,  five  feet  two.  Dorothy  Janis 
has  been  appearing  very  little  on  the 
screen   lately. 

Gloria  Rodgers. — I'm  all  set  up,  know- 
ing that  you  buy  Picture  Play  just  for 
my  column.  I'll  have  to  work  harder 
than  ever  now.  Mary  Forbes  is  Ralph 
Forbes'  mother,  who  came  over  from  her 
native  England  after  Ralph  was  estab- 
lished here.  Edythe  Chapman  was  born 
in  Rochester,  New  York,  and  educated  at 
the  university  there.  She  was  a  stage 
leading  lady  for  twenty  years  before  go- 
ing into  movies.  She  and  James  Neill 
hold  the  long-distance  marriage  record 
for  Hollywood — about  thirty  years  or 
more. 

Lee  Schulze. — So  you  sympathize  with 
me    for   having    to    answer    questions    all 

day?  That'-  the  first  break  I've  had; 
most  people  think  it'-  fun  to  receive  so 
many  letters.  "Beau  Bandit"  certainly 
will  have  been  released  by  the  time  this 
nets  into  print.  Rex  Lease  was  born  on 
February  11,  1903.  He  was  living  in  Hol- 
lywood when  Finis  Fox  gave  him  his  first 
part  in  "The  Woman  Who  Sinned."  You 
can  reach  him  at  the  Hollywood  Athletic 
Club.  There  is  no  fan  club  in  his  honor, 
so  far  as  I  know. 

M.  M. — Tf  you  think  the  influx  of  stage 
star-  in  the  movies  has  been  puzzling  to 
fan-,     imagine     my     embarras-ment !       It 


keeps  me  all  a-twitter,  as  grandma  used 
to  say,  trying  to  keep  up  with  all  these 
additional  biographies.  Charles  Bickford 
was  born  in  Cambridge,  Massachusetts, 
one  January  1st,  but  he  doesn't  say  which 
one.  He  is  six  feet  one,  weighs  185,  and 
has  red  hair.  He  is  rich  enough  not  to 
work  unless  he  wants  to,  as  he  owns  a 
big  hog  ranch  on  the  Charles  River, 
near  Boston.  Walter  Huston  was  born 
in  Toronto,  Canada,  and  began  his  stage 
career  twenty-five  years  ago.  He  was  a 
vaudeville  headliner  for  fifteen  years  be- 
fore he  made  a  hit  on  the  dramatic  stage, 
and  went  from  there  to  movies.  Walter 
is  six  feet  tall,  weighs  180,  and  has  brown 
hair  and  hazel  eyes.  Kay  Francis  was 
born  in  Oklahoma  City  on  a  Friday,  Janu- 
ary 13th,  but  it  wasn't  unlucky  for  her. 
Her  mother  was  an  actress,  and  Kay 
spent  most  of  her  early  years  in  convents 
in  the  East.  Her  mother  sent  her  to  a 
secretarial  school,  but  Kay  went  on  the 
stage  over  parental  protest.  She  made 
good,  and,  like  others  who  succeeded  on 
the  stage,  turned  to  the  talkies.  Kay  is 
five  feet  five  inches  tall,  weighs  112,  and 
has  black  hair  and  brown  eyes.  Robert 
Montgomery  was  born  in  Beacon,  New 
York,  May  21,  1904.  He  has  brown  hair 
and  eyes  and  is  six  feet  tall.  Jack  Oakie 
(Lewis  Offield)  was  born  in  Missouri, 
November  12,  1903. 

Miss  Untidy. — Well,  why  don't  you  tidy 
up?  Walter  Byron  was  horn  in  Leicester, 
England,  in  1901.  He  is  six  feet  tall  and 
has  dark  hair  with  blue  eyes.  That  is 
his  real  name,  though  he  played  on  the 
English  stage  as  Walter  Butler.  I  don't 
think  he  is  married.  He  works  for  no 
company  in  particular — he  wasted  lots  of 
time  on  Gloria  Swanson's  "Queen  Kelly," 
which  was  scrapped.  He  will  soon  he 
seen  with  Greta  Garbo,  in  "Romance," 
and  in  "Solid  Gold  Article,"  for  Fox. 
His  previous  American  releases  were  "The 
Awakening"  and  "The  Sacred  Flame." 

Mary  Louise. — Of  course  I  want  to 
answer  questions  for  you.  That's  the 
ambition  I  dream  about  in  my  sleep.  I 
think  just  Hollywood,  California,  should 
reach  Leatrice  Joy ;  I  have  no  other  ad- 
dress for  her.  Marguerite  Clark  con- 
tinues to  live  near  New  Orleans.  Jewel 
Carmen  hasn't  played  on  the  screen  in 
years.  Constance  Bennett  is  with  Pathe, 
and  J.  Harold  Murray  with  Fox.  Norma 
Terris  is  no  longer  on  the  screen.  Last 
winter    she    was    doing    imitations-    in    a 


New  York  night  club.  You  could  address 
her  at  the  office  of  her  husband,  Doctor 
Jerome  Wagner,  128  West  Fifty-ninth 
Street,  New  York  City.  Nazimova's  lead- 
ing man  in  "Revelation"  was  Charles  Bry- 
ant, at  that  time  her  hushand.  "Silas 
Marner"  was  filmed  in  1922,  with  Crau- 
furd  Kent  in  the  title  role,  Marguerite 
Courtot  as  Sarah,  Robert  Kenyon  as  Wil- 
liam Dane. 

Miss  Tidy. — If  you're  Miss  Untidy's 
sister,  I  suppose  you  do  all  the  work. 
Raymond  Hackett  was  born  in  New  York, 
July  15,  1902.  He  is  slightly  under  six 
feet  in  height,  and  weighs  150 ;  brown  hair 
and  blue  eyes.  He  married  Myra  Hamp- 
ton, of  the  New  York  stage,  in  1927,  and 
a  son  was  born  June  28,  1929.  His  re- 
cent films  are  "Jail  Break,"  "Let  Us  Be 
Gay,"  and  "On  Your  Back." 

Just  Me. — I'm  glad  that's  all,  consider- 
ing the  number  of  questions  you  can  ask 
all  by  yourself.  William  Bakewell  did  not 
play  in  "Half  Marriage";  Morgan  Farley 
was  the  leading  man.  Richard  Tucker  is 
not  quite  six  feet,  weighs  175,  and  has 
blue  eyes  and  grayish  hair.  James  Hall 
is  five  feet  eight  and  is  a  blue-eyed  blond. 
Merna  Kennedy  has  auburn  hair  with 
green  eyes  and  is  five  feet  two.  Loretta 
Young  is  five  feet  three,  blond,  and  blue- 
eyed.  Sally  Blane  is  an  inch  and  a  half 
taller  and  has  hazel  eyes.  Grant  Withers 
has  blue  eyes  and  brown  hair.  He's  a 
big  man  now — six  feet  three  and  weighs 
200.  Buddy  Rogers  has  very  dark  hair 
and  eyes;  he's  six  feet  tall,  as  is  Charles 
Morton. 

Wexdell  Gulden. — Letters  are  always 
answered.  If  you  don't  see  your  replies, 
it  means<  that  you  expect  them  sooner 
than  it  is  possible  for  them  to  appear. 
Carlotta  Monterey  only  played  in  a  few 
films ;  she  is  a  retired  stage  actress.  Nita 
Naldi  lives  in  Paris  and  has  long  since 
let  her  figure  go  into  private  life.  Dag- 
mar  Godowsky's  screen  career  was  brief. 
Alice  Lake  played  recently  in  "Frozen 
Justice,"  "Young  Love,"  and  in  short  com- 
edies. Jean  Paige  married  Alfred  Smith, 
former  president  of  Vitagraph,  and  re- 
tired from  the  screen.  May  Allison,  ditto, 
upon  her  marriage  to  James  Quirk.  Ber- 
tram Grassby  still  plays  in  pictures,  but 
as  he  is  not  a  featured  player,  I  haven't 
recorded  just  which  ones.  And  I  haven't 
the  addresses  of  players  who  are  no 
longer  connected  with  movies. 

Continued  on  page   119 


103 


Wild  and  Woolly 

The  days  when  villains  wore  walrus  mustaches   instead   of   monocles 
and  plus  fours  are  recalled  by  these  players. 


Such  mil*' 

dangerous,  warns 
Richard  \rlcn, 
right,  and  belong 
only  out  in  the 
open  spaces. 


>,  ho  and  a  bottle 
of  glue,  and  Benny  Rubin, 
above,  is  a  pirate  bloody 
and   bold. 


The  old  whip- 
cracking  villain 
who  used  to  thun- 
der across  the  oil 
footlights  is  im- 
personated by 
Mitzi  Green,  I* 
low,  the  champion 
kid    mimic. 


Helen  Kane,  above,  in  "Dangerous  Nan  McGrew,"  has  throw 

her    >i>ell    over   one    more    cavalier,    Victor    Moore,    and    whih 

thrilling  him  by  tickling   his   bald  head   with   a  feather   in  her 

hat  is  wondering  what  she  is  going  to  do  about  him. 

In  "The  Girl   Said   No,"   William   Haines,   left,  dresses   up  like 
a  porter  of  the  old  school  in  o'der  to  see  his  lady  love. 


The    split    is    sin  h    ;: 
•jal     thing     with     <  I 
Herman,  below,  in  "Dixi- 
ana,"'  that  he  nonchalantly 
twirls  his   luxuriant    wal- 
rus mustache  while 
tators    :■ 


104 

Continued  from  page  94 
a  pent   house — -a  little  house  on  the 
roof  of  a  tall  building,  and  the  view- 
is  something  you  ought  to  see." 

"1  would  zo  lof  to  come!"  she  ex- 
claimed, thinking  of  how  pleased 
Larry  would  be  to  hear  that  even  the 
great  Rex  Talbot  approved  of  his 
choice. 

She  begged  off  from  the  engage- 
ments the  office  had  made  for  her, 
and  slipped  away  by  herself,  thrilled 
at  the  thought  of  the  coming  inter- 
view. This  was  marvelous  !  Prob- 
ably there'd  be  other  picture  people 
there,  who'd  tell  her  things  about 
Hollywood. 

But  there  was  no  one  else  present. 
Talbot  let  her  in,  and  showed  her  the 
view  from  the  terrace  only  when  she 
reminded  him  of  it.  He  seemed  to 
prefer  the  living  room,  with  its  deep 
chairs  and  broad  couches. 

"Sit  here  by  me,"  he  urged,  draw- 
ing her  to  the  widest  and  deepest  of 
the  great  black  divans.  "I'm  afraid 
of  you — but  I  love  danger!  You 
Spanish  women  have  a  reputation, 
you  know !  Ah,  Carmen — what  a 
name  !     Created  especially  for  you !" 

Jane  wanted  to  tell  him  he  didn't 
know  how  true  that  was.  She 
chuckled  as  she  sat  down  on  the  far 
end  of  the  couch.  Talbot  promptly 
moved  nearer. 

"We're  going  to  mean  a  lot  to  each 
other,  aren't  we?"  he  asked,  in  his 
deep,  rich  voice.  "I  know  you're 
sympatica.  You  would  understand 
me — your  gorgeous  eyes  tell  me  so." 

Jane  began  to  be  worried.  As  the 
moments  stretched  into  half  an  hour 
she  grew  more  so.  She  tried  to  go, 
but  Talbot  would  not  release  her 
hand.  He  wanted  to  go  on  telling 
her  about  what  her  gorgeous  eyes 
said,  and  how  much  he'd  always 
wanted  to  make  love  to  a  Spanish 
girl.  He  was  jealous  of  that  bull- 
fighter, madly  jealous,  but  she  mustn't 
let  that  affair  spoil  her  life.  She  was 
too  young,  too  lovely !  He  would 
give  her  such  affection  as  she  had 
never  known  before! 

He  bent  forward,  with  that  dec- 
laration. His  lips  were  very  close 
to  hers,  although  she  had  drawn  as 
far  away  as  she  could,  when  there 
was  a  sharp  click  and  the  outer  door 
opened.  A  woman  stood  there,  a 
tall,  good-looking  woman,  beautifully 
dressed.  Her  eyes  widened  with 
amusement  as  she  surveyed  the 
scene. 


Babes  in  Hollywood 

Talbot  got  sheepishly  to  his  feet. 

"At  it  again,  eh,  Rex?"  she  com- 
mented, sauntering  across  the  room 
to  a  chair.  "Well,  well!  Too  bad  I 
came  home  to-day,  isn't  it?  I'll  take 
two  sapphire  bracelets  this  time." 
She  sat  down  and  tossed  her  silver 
scarf  to  the  floor.  "If  he  told  you 
he'd  give  you  a  Rolls-Royce,  don't 
believe  him,"  she  remarked  casually 
to  Jane.  "Every  time  he  gets  into 
one  of  these  jams  I  make  him  settle 
with  me  so  expensively  that  he  can't 
give  any  one  else  so  much  as  a  string 
of  ten-cent-store  pearls." 

Jane  put  her  hands  to  her  flaming 
cheeks. 

"I — I "  she  stammered. 

"Of  course,  he  ought  to  pay  you 
off,"  Mrs.  Talbot  continued,  ob- 
viously enjoying  herself.  "Maybe 
he'll  give  you  a  movie  contract.  But 
it  won't  be  much  good.  They're  giv- 
ing him  the  run-around  at  Superba 
now ;  demoted  him  from  supervisor 
to  director.  That's  because  I  stopped 
helping  him — I'm  the  brains  of  the 
works.  He  has  to  talk  everything 
over  with  me  before  he  has  a  camera 
set  up." 

Somehow  Jane  got  to  her  feet, 
though  her  legs  shook  so  that  she 
could  hardly  stand. 

"Oh,  Julia,  be  easy  on  me  this 
time,"  Talbot  begged,  coming  to  his 
wife's  side.  "I  was  just  having  some 
fun  with  her.  She's  Spanish,  you 
know — she's  the  kid  they  brought 
over  to  do  that  picture  the  old  man's 
hipped  about.  She  won't  last  long — 
hasn't  got  a  thing!  Can't  even  un- 
derstand English.  They'll  have  to 
use  an  interpreter." 

New  strength  poured  through 
Jane's  body.  She  started  toward  the 
door,  but  as  she  reached  it,  she 
turned  and  faced  them. 

"My  English  is  as  good  as  yours!" 
she  exclaimed  angrily,  "I  understood 
every  word  you  said.  And  I'll  last 
a  lot  longer  than  you  will !" 

But  as  the  door  slammed  behind 
her,  she  remembered  her  accent.  Oh, 
now  she  had  done  it !  That  awful 
woman  would  tell  everybody  in  the 
industry  about  her.  Larry  had 
warned  her  not  to  get  involved  in 
any  scandal — and  here  she  was,  dis- 
covered with  a  man  by  his  wife.  Of 
course,  they'd  just  been  sitting  on  a 
couch  together,  but  Talbot  wasn't  the 
kind  of  man  a  girl  would  be  safe 
with  on  a  steeple! 


She  went  straight  home  and  cabled 
to  Larry,  "Am  in  awful  jam ;  come 
at  once."  Then  she  remembered  that 
the  telegraph  operator  would  see  it, 
and  changed  it  to  "Caramba!"  which 
they  had  agreed  upon  as  a  signal  of 
distress.  After  which  she  refused  to 
see  anybody  and  went  to  bed. 

The  next  day  she  left  for  Holly- 
wood, thankfully,  in  a  stateroom 
completely  supplied  with  all  comforts, 
from  a  portable  phonograph  to  ten 
pounds  of  candy  and  a  case  of  cham- 
pagne. The  latter,  it  was  explained, 
being  supplied  because  all  foreign 
stars  lived  on  champagne. 

"I'd  rather  have  ginger  ale,"  Jane 
told  the  efficient  young  woman  who 
had  been  her  guide,  and  who  was  ac- 
companying her.  "You  take  the 
champagne,  Miss  Burt." 

Behind  her  glasses  Miss  Burt's 
eyes  almost  popped  out  of  their 
sockets.  She  managed  to  murmur 
her  thanks,  and  departed  to  her  own 
compartment  with  the  champagne,  to 
remain  there  during  most  of  the 
journey. 

There  were  other  movie  folk  on 
the  train  the  porter  told  Jane.  Once 
she  got  a  glimpse  of  Nancy  Carroll, 
and  she  felt  quite  sure  that  she  saw 
Corinne  Griffith,  walking  up  and 
down  for  a  breath  of  air  when  the 
train  stopped  at  Topeka. 

It  hardly  seemed  real  that  she  was 
traveling  on  the  same  train  with 
these  people  about  whom  she  had 
read  so  much.  How  she  had  wanted 
to  see  their  pictures,  how  she  had 
longed  to  get  even  a  glimpse  of  them. 
Could  it  be  possible  that  she  would 
actually  meet  them,  go  to  their  houses 
— know  Gary  Cooper,  and  Clara 
Bow,  and  Joan  Crawford? 

The  train  pulled  into  the  Los  An- 
geles station.  Miss  Burt,  rather  pale, 
appeared  to  accompany  her.  But 
Jane  shrank  into  a  corner,  trembling. 

"I'm  afraid,"  she  said.  Then,  re- 
membering her  role,  "I  am  so  fright- 
en', so  scare' !" 

"You've  got  nothing  to  be  afraid 
of,"  Miss  Burt  told  her  emphatically. 
"Why,  this  whole  town's  just  wait- 
ing to  throw  roses  at  you.  But  look 
out  for  the  thorns,  darling — they'll 
be  there,  too." 

Jane  pulled  herself  together  and 
stood  up.  Oh,  if  only  J^arry  were 
here ! 

TO  BE  CONTINUED. 


AH,  GARY! 


All  my  life  I've  been  so  good, 
Followed  the  beatitudes, 
Hemmed  around  with  platitudes. 
In  Xew  England  I  was  born, 
Every  rose  must  have  a  thorn, 


Such  a  conscience  can't  be  shorn. 
But,  big  boy,  if  you  should  call, 
I'm  a-thinking  would  I  fall, 
And  for  you  forget  it  all? 

Helen  W.  Tuttle. 


LOS 


His   Way   %Vith  Women 
Continued    from    page    63 

you  need.     It"  you  are  too  thin,  the 
rubber  clothing  is  omitted,  but   the 

of  the  routine  is  much  the  same. 
A  bathing  suit,  padded  trousers,  and 
sweat  shirt  arc  donned  over  the  rub- 
ber garments,  and   the  patient   . 
to  the  root  with  fellow  enthusiasts. 

There  one  jogs  flat-footed  around 
a  running  track,  running  one  lap.  and 
then  briskly  walking  one.  Ten  laps 
you  go— half  a  mile — no  matter  how 
you  rebel.  Running  flat-footed  stimu- 
lates the  liver.  The  jar  to  the  system  is 
akin  to  that  produced  by  horseback 
ridi- 

This  is  only  the  beginning.  Next 
you  do  calisthenics  under  the  direc- 
tion of  Mr.  O'Brien  or  one  of  his 
lively  young  assistants.  Mr.  O'Brien 
is  fifty-two  years  old  and  his  as- 
QtS  nearly  that,  hut  they  have 
the  eagerness  of  high-school  athletes. 
Encouraging,  that  manner  is.  and  you 
need  encouragement,  as  you  feel 
about  eighty  years  old  the  first  time 
you  try  to  bend  and  stretch  as  fas 
they  count. 

With  arms  outstretched  you  bend 
and  touch  your  left  foot  with  your 
right  hand,  your  right  foot  with  your 
left  hand.  Fifteen  minutes  of  this 
and  similar  excretes  seem  like  hours. 
Then  you  lie  on  a  table  and  do  more 
cxurc;>es.  lifting  one  leg  with  knee 
straight,    then   the   other,   then   both. 

By  that  time  you  have  your  sec- 
ond wind  and  are  beginning  to  en- 
joy yourself.  A  little  rope  jump- 
ing, or  some  work  at  a  rowing  ma- 
chine, and  you  are  gayly  turned  over 
in  attendant  in  the  cabinet  bath 
>n.  A  few  minutes  of  steaming, 
a  tingling  cold  shower,  and  you  feel 
the  blood  racing  through  your  body. 
Donning  a  dry  bathing  suit  and  a 
fresh  sweat  shirt,  you  go  to  the  roll- 

g  machines. 

Tap  dancers  use  the  rolling  ma- 
chines regularly  to  work  off  the  mus- 
cle that  makes  their  calves  unsightly. 
Opera  singers  have  been  known  to 
died  two  inches  in  waist  measure- 
ment without  any  loss  of  weight. 

The  daily   treatment    takes   nearly 
two  hours,  and  the  first  four  days  are 
the  hardest.     After  that  you  are  not 
and  stiff  any  more. 
me    of    O'Brien's    most    dev 
follower!  omen  in  their  l 

and  Seeing    them    battling 

bravely  to  keep  fit  and  trim,  how  can 
a  girl  like  Winnie  Lightner  allow  her- 

,,'et  so  fat  that  her  care 
endangered  ? 

Winnie  couldn't.  She  fought  her 
way  back  to  l>eauty  and  health,  and 
any  one  with  her  determination  can 
do  it.  too.     Hut  as  you   see,  it  isn't 


eenex . . . 


the  only  safe  way  to  remove 
face  creams  and  make-up 


She  started  all  America  singing  "Can't 
help  lovin'  that  man".  .  .  she  played 
in  some  of  the  greatest  successes 
Ziegfeld  has  ever  known  .  .  .  and 
she  tells  you  here  how  she  protects 
the  beauty  that  made  her  famous. 

YOU  saw  her  in  "Show  Boat,"  didn't  you? 
And  if  you  are  human — and  feminine — 
you  must  have  wondered  how  she  preserves 
her  creamy  skin  and  cool,  magnolia  beauty. 
Well — take  a  peep  into  her  dressing  room ! 


Right  past  the  doorman,  into  the  star's  own 
inner  sanctum!  And  here  we  find  her,  cleans- 
ing her  skin  . . .  with  Kleenex ! 

"Kleenex  is  always  on  my  dressing  table," 
she  says.  "It's  the  only  safe  and  sanitary  way 
to  remove  face  creams  and  make-up.  Soft  and 
absorbent,  it  wipes  away  but  does  not  scratch 
or  stretch  the  skin." 

You  sec,  Helen  Morgan  knows  the  impor- 
tance of  proper  cleansing.  So  she  uses  Kleenex. 

Kleenex  is  powerfully  absorbent.  It  blots 
up  . .  .  not  only  every  trace  of  cream  and  oil 
.  .  .  but  embedded  dirt  and  cosmetics  also. 

Women  everywhere  arc  rapidly  adopting 
the  Kleenex  way  of  removing  cold  cream. 
Kleenex  is  so  sanitary.  It's  so  much  safer  than 
germ -filled  "cold  cream  cloths"  or  towels.  And 
far  less  expensive. 

Kleenex  comes  in  white,  and  in  three  safe, 
lovely  tints,  at  all  drug  and  department  n 

•V        Ma v  we  send  VOU  Kleenex— freer <• 

1  *  PP-9 

Kleenex  Company,  Lake-Michigan  Building.  Chicago, 
Illinois.     Plcaic  acod  ■  aamplc  of  Kleenex  \». 


More  and  more  people  are  using  Kleenex  to  rep' ace 
handkerchief!.  It  is  especially  valuable  during  coldi. 
to  avoi  J  reinfection. 


Nam- 


A'l'lrcai. 


City 


10G 

Continued  from  page  43 

prevails  upon  her  to  attend  large  par- 
ties,  her  timidity  descends  upon  her 
with   added    force.      Diffident    in   a 

room  full  of  people  she  doesn't  know, 
she  is  taciturn  and  reserved  to  the 
point  of  hauteur,  this  being  the  only 
screen  she  can  erect  to  conceal  the 
fact  that  she  can't  think  of  any  re- 
mark witty  enough  to  merit  atten- 
tion. 

Only  among  her  family  and  close 
friends  is  she  completely  at  ease. 
Here  she  is  an  alert,  amusing  con- 
versationalist. Although  never  given 
to  clowning  or  wise-cracking,  she  has 
a  dry  humor  that  is  more  subtle  than 
pointed.  She  rarely  laughs  aloud, 
manifesting  amusement  in  a  spon- 
taneous, dimpled  smile.  Of  a  nat- 
urally even  disposition,  when  she  is 
roused  to  anger,  a  quick  temper 
flares  out  in  brief  biting  sarcasm  that 
never  misses  the  mark. 

Although  she  is  thoughtful,  re- 
membering, for  instance,  the  extra 
people  who  work  on  her  sets  and  al-  ■ 
ways  asking,  with  sincere  interest, 
after  their  luck  or  their  children  or 
families ;  there  is  never  the  least  hint 
of  patronage  in  her  manner.  De- 
spite her  position,  she  avoids  putting 
people  under  obligation  to  her,  meet- 
ing them  always  on.  level  ground. 

Easy  to  become  acquainted  with, 
friendly,  and  highly  likable,  she  is, 
nevertheless,  difficult  to  know  at  all 
well.  Not  the  person  to  offer  con- 
fidences or  dramatic  reminiscences, 
she  reveals  very  little  of  herself.  Yet 
this  reserve,  like  everything  else 
about  her,  is  not  obtrusive. 

Her  hair  is  naturally  a  light 
brown.  Some  years  ago,  preparatory 
to  doing  a  lead  with  Hoot  Gibson, 
she  decided  that  something  must  be 
done  about  injecting  sparkle  into  her 
personality.  Delighted  with  an  ex- 
periment in  white  henna,  she  has  been 
a  blonde  ever  since.  Having  it  dark- 
ened to  natural  for  a  recent  picture 
depressed  her  considerably.  She 
feels  dull  and  uninteresting  and  likes 
her  "drug-store  color"  much  better. 
Laving  claim  to  an  inferiority  com- 
plex of  no  mean  proportions,  she 
thinks  that  blond  hair  gives  her  at 
least  a  semblance  of  the  dashing  per- 
son she  would  like  to  be. 

She  is  embarrassed  by  compli- 
ments and,  to  hastily  correct  your 
wrong  impression  of  her,  points  out 
her  had  legs,  a  head  large  for  her 
body  and  her  "almost  blindness." 
Despite  her  arguments,  Laura  is 
pleasant  to  look  at — small,  neat 
features,  delicately  retrousse  nose, 
candid  blue  eyes  that  are  black- 
ed  without  aid  of  mascara,  white 
skin  with  a  healthy,  natural  pink  in 
the  cheeks,  teeth  like  those  promised 
in  advertisements.     Not  a  face  star- 


Laura — As  She  Is 

tling  for  its  beauty,  it  is  only  on 
second  inspection  that  its  unmistak- 
able prettiness  is  discovered.  Per- 
haps the  most  noticeable  charm  of 
the  ensemble  is  its  perpetual  appear- 
ance of  having  been  just  freshly 
washed  and  brushed  and  generally 
tidied.  The  "almost  blindness"  to 
which  she  scathingly  refers  is  a  near- 
sightedness necessitating  glasses  for 
reading  or  driving.  It  is  not  other- 
wise evident,  unless  in  the  intent  di- 
rectness of  her  clear  eyes. 

Unlike  most  of  her  cinema  sisters, 
Laura  does  not  dress  for  "individu- 
ality." Her  clothes,  bearing  the 
stamp  of  New  York,  are  always 
plain,  smart,  and  suitable  to  the  occa- 
sion. She  leans  toward  the  simplest 
possible  in  street  and  sports  wear  and 
particularly  likes  well-tailored  suits 
and  cloth  dresses.  Her  failing  for 
costume  jewelry,  while  amounting  to 
a  passion,  never  obtrudes  over  good 
taste.  She  has  a  talent  for  exactly 
the  right  thing  in  accessories  and  is 
always  turned  out  with  an  immacu- 
lateness  rare  on  the  Boulevard. 

Despite  the  best  intentions  in  the 
world,  she  is  never  on  time.  Start- 
ing out  in  a  warm  glow  of  convic- 
tion that  this  time  she  will  be  punc- 
tual, she  arrives,  with  her  usual  de- 
spair, anywhere  from  half  an  hour  to 
two  hours  late.  This  bothers  her  a 
good  deal,  but  her  most  heroic  ef- 
forts have  failed  to  bring  about  an 
improvement. 

A  good  swimmer  and  tennis  player, 
5he  is  not,  however,  aggressively 
athletic.  When  living  at  her  Malibu 
Beach  house,  each  morning  she  gazes 
at  the  ocean,  decides  it  looks  beauti- 
ful, inviting,  vigorously  cold  and 
sparkling.  Then  she  shamefacedly 
turns  to  a  warm  shower. 

As  her  grace  of  movement  indi- 
cates, she  is  a  delightful  dancer  and 
enjoys  a  good  orchestra  and  accom- 
plished partner.  Cards  she  knows 
little  about  and  never  plays.  She 
likes  social  events,  but  only  among 
the  people  with  whom  she  is  famil- 
iar. The  Seiters  are  nearly  always  in 
evidence  at  Mayfair  parties,  openings 
and  frequently  at  the  Coconut  Grove, 
the  Biltmore,  or  the  Roosevelt.  They 
entertain  considerably  at  their  home, 
a  very  smart  apartment  at  Country 
Club  Manor.  Laura  is  a  member  of 
"Our  Club,"  the  first  and  most  ex- 
clusive of  its  kind.  Among  her  clos- 
est friends  are  Colleen  Moore,  May 
McAvoy,  and  Lois  Wilson. 

The  memory  of  her  childhood  con- 
tact with  poverty  still  vivid,  Laura  is 
essentially  thrifty  and  uses  her  money 
with  cautious  good  sense.  Although 
she  and  her  husband  live  in  luxury, 
Laura  does  not  permit  herself  to 
spend    for   the   thrill   of   spending — 


would  n  )t,  in  fact,  enjoy  it.  Foi  .his 
reason  she  does  not  like  to  gamble 
and,  even  at  Agua  Caliente,  cannot 
be  prevailed  upon  to  join  her  hus- 
band at  the  tables  where  he  loses  as 
blithely  as  he  wins.  When  Seiter  has 
one  of  his  lightning  decisions  to  buy 
a  yacht,  or  a  mountain  cabin,  or  an 
airplane,  it  is  Laura  who  points  out 
the  uselessness  of  such  toys. 

Ordinarily  she  is  placid  rather  than 
moody.  Her  early  unhappiness  and 
struggles  have  left  her  with  a  well- 
balanced  sense  of  values.  Neither 
people  nor  events  excite  her.  She  is 
charitable  and  tolerant  in  her  opin- 
ions, innately  kind  and  understanding 
and  will  neither  listen  to  nor  repeat 
gossip.  Mrs.  La  Plante  and  Violet 
are  objects  of  her  adoration.  They 
live  in  the  Beverly  Hills  home  which 
Laura  built  for  the  three  of  them 
before  her  marriage. 

She  has  been  married  three  years, 
her  romance  with  William  Seiter  be- 
ginning when  he  directed  her  in 
"Dangerous  Innocence."  When  she 
speaks  of  him,  it  is  with  pride  and 
affection.  They  share  enough  tastes 
to  make  for  amity,  and  disagree  on 
enough  to  make  for  interest. 

Laura  dislikes  talking  pictures,  de- 
ploring in  particular  "Captain  of  the 
Guard,"  about  which  she  says  the 
only  bearable  feature  is  John  Boles' 
singing.  With  an  instinctive  feeling 
for  what  is  right  in  drama,  one  of 
her  greatest  difficulties  is  breaking 
up  in  rehearsals  the  stilted  melodra- 
matic lines  that  have  fallen  to  her  lot. 

For  her  own  amusement,  also,  she 
still  prefers  silents  to  talkies,  think- 
ing it  a  more  definite  and  artistic 
medium  when  confined  to  panto- 
mime. Her  special  favorites  are 
Ronald  Colman,  Roland  Young, 
Greta  Garbo,  Alice  Joyce,  and  Ina 
Claire.  And  on  mention  of  Pauline 
Frederick  she  waxes  almost  lyrical. 

She  finds  that,  with  the  advent  of 
talkies,  her  hitherto  absorbing  inter- 
est in  pictures  has  dwindled  and  won- 
ders if  she  is  growing  old.  A  par- 
tial explanation,  she  thinks,  is  that 
she  has  never  done  a  picture  with 
which  she  has  been  satisfied.  Before 
she  retires,  she  would  like  to  do  one 
really  beautiful  picture,  one  cumula- 
tive result  of  her  long  apprenticeship. 

After  which,  she  yearns  for  unhur- 
ried travel,  and  time  for  the  study  of 
languages,  music,  and  the  dozens  of 
things  she  has  never  had  opportunity 
for.  And  eventually  a  family.  But 
Laura  the  thorough,  with  her  ca- 
pacity for  concentration  on  the  mat- 
ter in  hand,  will  not  begin  her  family 
until  she  can  give  it  the  complete,  un- 
interrupted attention  which  made  a 
star  of  the  grave,  serious-minded  lit- 
tle extra. 


107 


What   the   Fans  Think 

ntinued  from  page  13 


try    still    ,  Qchly    to    Welsh    in    the 

remoter  districts.  lUit  who  could  distin- 
guish the  English  of  a  Cocknej  from  that 
of  a  Lancashire  man  ? 

England  is  composed  of  dialects,  al- 
though it  is  the  English  language  As 
well  as  ite  that  the  drawl  01  Picca- 

dilly is  the  correct  Then  could 

one  state,  with  equal  fairness,  that  the 
dialect  spoken  by  the  Norfolk  people  is 
true   Engli-h. 

In  the  Unin  we  have  the  slow 

Southern  drawl,  the  hard,  precise  t. 
of  the  New  Englander,  the  clipped, 
cato  tones  of  the  Mar.hattanite.  each  in  its 
way  a  dialect.  The  noble  knight  shows 
that  insular,  superior  attitude  which  has 
always  amused  Americans  and  irritated 
Europeans.  I  left  England  because  of 
the  c  m,  although  I   fought  three 

-  in  France  for  the  Union  Jack.  In 
spite  of  a  Labor  government.  England  is 
hidebound  in  old  traditions :  gallant 
though  England  is,  she  resents  any  new 
departure. 

We  in  this  country  know  that  England, 
with  her  damp,  foggy  climate,  can  never 
produce  pictures  I:'-  filmed  in  Cali- 

fornia. Interiors  arc,  of  course,  all  very 
well ;  but  then  one  cannot  enjoy  a  film 
made  up  of  interiors  alone.  I  am  afraid 
I  see  the  green-eyed  monster  in  the  most 
noble  knight'<  outburst.  That  isn't  cricket. 
Sir  Alfred.  Give  the  blooming  Yanks 
credit  for  making  the  finest  pictures  in 
the  world.  H.  T.  Bradley. 

Franklin   Hospital, 

Franklin,    Pennsylvania. 

A  Tribute  to  Tibbett. 

Hail  to  the  new  star  in  the  screen 
heaven,  the  golden-voiced  Lawrence  Tib- 
bett !  His  debut  in  "The  Rogu^  Song'' 
is  positively  breath-taking.  He  has  every- 
thing— a  glorious  voice,  good  looks,  and 
a  strong,  well-built  body.  In  the  flog- 
ging scene  he  reaches  unexcelled  heights 
of  dramatic  intensity.  :•.  :t  the 

anguish  of  his  tortured  soul  and  body  in 
ringing  song  to  his  cold  and  haughty 
princes-.  Throughout  the  picture  he 
dominates  even.-  scene  by  the  power  and 
force  of  his  amazing  physical  enersry. 
There  is  nothing  operatic  about  Mr.  Tib- 
bett except  his  voice :  he  is  neither  tem- 
peramental   nor   corpulent. 

Gertrude  Westexberg. 

334  Randolph   Avenue, 
Seattle,  Washington. 

Fair  Enough. 
I    once    wrote    that    I    didn't    like    Alice 

e,  but   since   I    saw   her    in    "Playing 
Around"    I    realize   there   is    somethi' 
her.     Another  thing,  she  didn't  appear  in 

lgle    scene    that    was    bold.      She    is 

'!y  half  clad,   but  in   this   picture   she 

fully  dressed. 
I'm    really    beginning    I  her.      In 

fact.  I  was  crazy  about  her  in  the  above- 
mentioned  picture.  I  hope  Alice  reads 
this,  as  she  must  have  read  my  last  letter 
in  April  Picti'RF.  Play.  From  now  on, 
I'm  a  boo-tcr  and  not  a  knocker  of  dar- 
ling Alice.  Mi- ■  Schwartz. 

21  r  DC, 

West  mia. 

Lupe  Treats  'Em  Rough. 
I  certainly  agree  with  J.  E.  R  .  •  f  Bris- 
bane, that  I.upe  V<  lez  makes  a  cheaj' 
tacl-  tlf  when  *hc  thoul 

v  her 
when  she  appeared  in  person   in   Chi 
and  if  the  way  she  acted  is  a  leeyn 


her  regular  behavior,  she  must  be  a  candi- 
date for  the  nut  factory.  Between  pull 
ing  her  accompanist's  hair  and  kicking 
him,  she  acted  like  .i  six-)  ear-old.  li  the 
Comments  heard  in  the  lobby  wire  to  be 
taken  seriously,  l.upe  lost  a  lot  of  ad- 
mirers by  making  that  personal  appear- 
ance. I  nave  never  seen  a  picture  of  hers 
since. 

I  was  sitting  in  the  front  row  when 
Maurice  Chevalier  made  his  personal  ap- 
pearance lure,  and  consequently  I  got  a 
ver>   good  view  of  him.     He  isn't  at  all 

looking,  but  when  lie  -miles  and 
>:.irts  to  sing,  you  are  convinced  he  i--  a 
coming  idol.  He  certainly  has  that  mys- 
terious   something    called   "It." 

I  recently  saw  Ramon  Xovarro  in 
"Devil-May-Care,"  and  1  was  very  favor- 
ably impressed  by  his  acting  and  his  sing- 
ing. I  saw  it  the  second  time,  ju-t  to 
hear  him  sing  "Charming"  and  "The  Shep- 
herd's  Serenade." 

Rosemary  McCormick. 
Chicago,  Illinois. 

Noisy  Movie  Audiences. 
It  is  absolutely  unfair  to  call  any  star 
the  most  beautiful.  If  the  fans  would 
only  look  at  this  question  in  a  sensible 
way,  they  would  realize  that  to  them  their 
own  favorite  is  naturally  the  most  beau- 
tiful. I  consider  Norma  Talmadge  beau- 
tiful. On  the  other  hand,  I  am  very  fond 
of  Ruth  Chattcrton,  but  I  do  not  con- 
sider her  beautiful.  But  do  you  ever 
think  of  her  looks  while  watching  her  on 
the  screen?  No,  it's  the  play  of  emo- 
tions that  fascinates  you  and  holds  you 
spellbound. 

According  to  some  obnoxious  person, 
the  movie  stars  and  their  "pitiful  efforts" 
in  talkies  have  called  for  criticism.  My, 
what  a  fine  sense  of  loyalty  that  person 
has !  I  have  not  heard  one  stage  star  who 
can  sing  better  than  Bebe  Daniels  or  Glo- 
ria Swanson.  Very  few,  if  any,  surpass 
Lois  Wilson's  charming  enunciation,  and 
Norma  Talmadge  came  through  with  a 
delightful  voice,  and  has  lost  none  of  her 
appeal.  I  could  go  on  and  mention  any 
number  of  movie  stars  whose  voices  are 
clearer  than  some  of  the  stage  peopl- 

But  I  am  also  willing  to  take  the  other 
side  of  the  question.     I  want  to  know  why 
Lea    McAlister    included    Alexander   Gray 
in  her  tirade?     Alec  is  very  deserving  of 
praise,  and  he  appreciates   it.     He  is  ear- 
nest in  his  work,   pleasing  in  appearance, 
and  possesses  a  wonderful  baritone  voice. 
What    is    more,    he    is    interested    in    the 
fans,  and  with  a  newcomer  that  mean-   a 
lot,  for  some  of  the  other-  are  rather  dis- 
dainful of  the  fans.     In  "Spring  Is  Here," 
I  much  preferred   Alec  to   Larry  Gray.      I 
don't    really   care    for    Bernicc    Claii 
-he   seems   to   be   able  to   do   nothinj 
smile  continually.     Louise  Fazend 
will  be  preserved   as  one  of  the  pri 
thir  ■  ,lkie   has   broucht 

In    regard    to    some    of    the    -tar-    who 
plan    to    retire    shortly.    I    think    they    arc 
selfish  to  do  thi-.    Especiall 
re.     She  has  man] 

her,   and   lir  r 
She  should  not  retire  for  many 

ine   Griffith   has   been    in    films    for   a 
lone  time,  so  in  her  case  it   i-  more  ju-ti- 
[l    tli  how- 

it    i-    W1  plate 

retirement,    just    bccai:  rk    is 

i-    informal    a  'fore 

talkie-,  as  1  r<  ad  in  i  That  i> 

foolish.     Her  it  rice 

tinued  on  page  111 


II  (lll.S   Lave 


l|OM   (I 


time  lo  use  l\  I  U  M 


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108 


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(a  secret!) 


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Over  tke  Top  \vith  Lev? 

Continued   from  page  29 


Once  in  a  while  another  fellow  and 
I  will  invite  a  couple  of  girls  to  go 
somewhere  to  dance.  But  it's  usually 
done  on  the  spur  of  the  moment. 

"I  like  to  go  out  that  way — you 
just  go  to  have  a  good  time.  I  sel- 
dom call  nj)  a  girl,  say  on  Monday, 
and  say,  'Let's  go  somewhere  and 
dance  Friday  night,'  because  when 
Friday  comes  I  may  not  feel  like 
dancing.  Or,  if  I  still  feel  like  danc- 
ing. I  may  not  feel  like  dancing  with 
the  particular  girl  I'd  spoken  to  on 
Monday.     It's  funny,  isn't  it?" 

The  change  in  him  within  the  past 
year  has  not  been  only  in  his  char- 
acter, but  in  his  appearance  as  well. 
I  saw  "The  Kiss"  again  the  other 
clay,  in  which  he  played  his  first  role 
of  any  consequence.  Then  he  was 
merely  a  good-looking  juvenile,  with 
rather  weak  and  indeterminate  fea- 
tures. But  to-day  he's  got  a  good, 
clean  jaw  line  and  a  firm  chin. 

Lew  mentioned  those  things  him- 
self. "I've  always  wanted  to  go  into 
pictures  ever  since  I  can  remember." 

"Why  didn't  you  try  sooner  when 
you  were  right  here  in  Hollywood?" 
I  asked. 

"Oh,  I  don't  know.  You  know 
how  a  fellow  is  afraid  of  being 
laughed  at,  if  he  tells  anything  like 
that  to  any  one.  And  then  when  I'd 
sort  of  got  over  that  feeling,  I  began 
to  be  afraid  you'd  have  to  be  good 
looking,  and  I  knew  I  wasn't.  My 
jaw  was  rather  flabby,  and  my  chin 


sort  of  receded.  My  features  are 
still  pretty  small" — sticking  out  his 
chin  so  I  could  see — -"but  I  guess 
they'll  make  up  their  minds  after  a 
while." 

Occasionally  he  looks  at  you  with 
that  twisted  grin  that  reminds  you  of 
Barthelmess.  There  is  something 
about  his  work  that  is  reminiscent 
of  Dick's,  too.  It  is  when  speaking 
of  Barthelmess  that  Lew  loses  that 
hesitancy  of  manner  and  becomes 
enthusiastic.  "Gee,  that  fellow's  a 
grand  actor !  I'd  forfeit  my  chances 
of  a  seat  in  heaven,  if  I  thought  I 
could  ever  be  the  actor  he  is." 

And  Dick  Barthelmess,  seeing  the 
younger  actor's  work  in  "All  Quiet," 
said,  "He  is  the  one  outstanding  ju- 
venile on  the  screen  to-day.  I  think 
his  work  was  superb  in  that  picture." 

Lew's  most  enthusiastic  admirers 
are  the  people  who  have  worked  with 
him.  While  his  technique  isn't  de- 
veloped to  the  point  that  Barthel- 
mess' is,  he  has  much  that  charac- 
terized Dick's  early  work,  and  he  has 
all  the  wholesome  appeal  of  Buddy 
Rogers,  without  being  "ga-ga."  Lew 
has  what  you'd  call  a  sweet  disposi- 
tion and  yet,  with  it,  he's  every  inch 
a  man.  I  expect  him  to  be  one  of  the 
big  stars  within  the  next  year  or  two. 

And  what  makes  this  viewpoint 
even  more  remarkable  is  that  it  seems 
to  be  the  consensus  of  opinion  in 
Hollywood,  a  place  that  seldom  has 
a  consensus  of  opinion. 


Tke  Screen  in  Reviexv 

Continued  from  page  97 


stars  receive  excellent  support  from 
Anita  Page,  Charles  Morton,  T.  Roy 
Barnes,  and  Herbert  Prior,  though 
why  Gwen  Lee  is  seen  briefly  as  a 
manicurist  is  a  question  that  only  the 
gods  of  the  cinema  can  answer.  Is 
there  no  justice  in   Hollywood? 

A  Saintly  Gunman. 
Inspired  by  the  popular  novel 
"Louis  Beretti,"  "Born  Reckless"  be- 
comes a  fairly  interesting  glorifica- 
tion of  a  gunman,  neither  better  nor 
worse  than  many  other  films  roman- 
ticizing the  underworld.  It  is  di- 
rected incisively,  is  well  acted  and 
some  of  the  characterizations  stand 
out.  But  it  is  a  rather  rambling 
narrative  which  presents  four  uncon- 
nected periods  in  Beretti's  life,  a  bi- 
ography in  four  chapters,  the  last  one 
putting  the  final  touches  on  Beretti's 
canonization  when  he  sacrifices  his 
life  to  rescue  the  kidnaped  child  of 
the  woman  he  loves. 


She  is  a  willowy  society  queen 
played  by  Catherine  Dale  Owen,  so 
you  know  just  how  willowy  she  is 
and  how  much  she  resembles  the  so- 
ciety prima  donnas  whose  pictures 
you  see  in  Vanity  Fair.  Edmund 
Lowe  gives  his  familiar,  good-natured 
performance  of  a  hard-boiled  hero, 
though  it  cannot  be  denied  that  he 
is  miscast  as  an  Italian  whose  par- 
ents on  the  screen  belie  their  sup- 
posed relationship.  Excellent  roles 
are  played  well  by  Paul  Page,  as  a 
dapper  crook,  Lee  Tracy,  a  reporter. 
Ben  Bard,  and  Warren  Hymer,  who 
again  pronounces  the  epitaph  he 
made  much  of  in  "Men  Without 
Women"- — -"He  was  a  great  guy."  In 
fact,  he  says  the  words  with  so  much 
feeling  that  th :  doubting  spectator 
wonders  if  heir  ^  a  great  guy  really 
carries  so  much  weight  in  the  under- 
world after  all. 


109 


Hollywood  Rides   its   Goats 


Continued  from  |> 


married  ami  divorced  a  time  or 
. .  and  I.ita  has  been  engaged, 
so  it  is  reported,  to  Roy  d'Arcy  and 
Phil  Baker. 

taplin  and  his  marriages!  Men- 
tion them  and  otT  goes  Hollywood 
into  delicious  g  —  ping  and  awfully 
funny  smart-cracking.  Yet,  without 
knowing  him  at  all.  I  would  hazard 
the  opinion  that  his  main  desire,  in 
his  unfortunate  marriages,  seems  to 
have  been  for  a  happy  home  and  chil- 
dren, and  it  is  a  desire  he  can't  seem 
to  realize. 

A  good  many  other  stars,   includ- 
the  Marquise  de  la  Falaise  de  la 
iraye — correct  me  if    I'm   wrong 
— have  topped  Charlie's  marital  rec- 
ord without  being  outstanding. 

Here's  another  curious  phase  of 
making  somebody  or  other  the  goat. 
In  these  instances,  the  victims  seem 
to  be  henefited  more  than  injured. 

I  refer  to  the  goats  of  wise-crack- 
There  are  a  few  men  in  Holly- 
!  who  are  supposed  to  be  wise- 
crackers,  and.  as  a  result,  every  one 
expects  them  to  wisecrack  with  every 
breath.  Whenever  one  of  these  se- 
lect few  opens  his  mouth,  every  one 
within  earshot  laughs,  even  though  he 
may  he  reporting  that  the  house  is 
afire,  or  the  Hollywood  dam  has 
bur- 

Wilson  Mizner,  of  course,  is  the 
most  celebrated  of  these,  with  Arthur 
r  a  close  second.  William 
Haines  is  gathering  quite  a  reputation 
for  wit.  and  Eddie  Nugent,  an  actor 
m  I  have  never  had  the  good  for- 
tune to  see  on  or  off  screen,  seems 
to  work  hard  at  it. 

It  might  be  said  here  that  some  one 
once  pointed  out  the  result  of  all  this 
reputation  for  wit.  Caesar  is  a 
Gass-R  scenario  writer  who  i-^  always 
shifting  his  activities  from  oik 
dio  to  another.  Wilson  Mizner  runs 
:aurant. 

But  the  point  I'm  attempting  to 
make  is  this.  These  gents — and  the 
others  similarly  misrepresented — 
couldn't  possibly  have  said  all  the 
funny  things  which  have  been  cred- 
ited to  them.  The  wittiest  man  in  the 
world,  if  he  lived  to  tin 
couldn't  have  done  it.  But  their  rep- 
utation is  such  that  any  hon  mot  ut- 
tered hetween  the  Hollywood  hills 
and  the  sea  is  immediately  fastened 
upon  one  of  them. 

I  cite  an  instance.     Some  time 
I  was  lunching  at  Universal  City  with 
a   friend.      Into  the  restaurant   came 
the  ph    Schildkraut. 

cortinp  the  ho  had   just 

then  arrived  in  Hollywood. 

My   friend,  a  gloomy  soul   na- 


Sir..  though     wh\      1     mention 

that     fad     1    don't    know — watched 
them    pass,    then    remarked,    "  There 
joe  Schildkraut,  trying  to  make 
his  letter." 

It  was  a  funny  remark.  1  laughed 
at  it.  and  later  repeated  it  here  and 
there,  with  proper  credits.  Some 
time  later  1  read  the  jest  in  a  movie 
column.  It  was  tagged  to  one  of  the 
professional    wits,    just    which    one    I 

don't  remember. 

Here's  another  side  to  the  business 
oi  making  goats  with  smart  sayings. 
Only  it  is  reversed  lure.  The  vic- 
tims are  Abe  and  Julius  Stern, 
makers  oi  two-reel  comedies. 

If  all  the  stories,  which  are  always 
told  in  dialect,  ridiculing  the  Sterns, 
were  laid  end  to  end,  they  would  ex- 
tend from  the  city  hall  in  Whittier, 
California,  to  the  right  elhow  of  the 
Statue  of  Liberty. 

Here's  still  another  example  of 
Hollywood  goat  appointives.  There 
is  a  beautiful,  blond  actress,  one  of 
the  most  beautiful  of  them  all.  who 
is  taken  as  the  standard  of  dumb- 
ness. How  this  legend  began.  I  don't 
know.  She  has  done  nothing  to  de- 
serve the  title,  but  she  got  it,  never- 
theless. And  when  you  start  choos- 
ing the  numb-belle  Queen  of  Holly- 
woo.],  you  have  a  lot  of  strong  candi- 
dates. See  list  of  Wampas  baby  stars 
for  the  past  seven  years. 

And  now.  in  closing,  let  us  men- 
tion the  supreme  and  outstanding 
Hollywood  goat  of  all  times.  Un- 
questionably, it  is  Fatty  Arbuckle. 
He  was  accused  of  a  crime.  One 
jury  couldn't  convict  him.  A  second 
acquitted  him.  But  he  never  had  a 
chance  to  get  back  to  his  old  position 
as  one  of  the  screen's  most  popular 
comedians.  He  runs  restaurants 
now.  rather  unsuccessfully,  and  when 
he  does  any  picture  work,  it  is  under 
an  assumed  name. 

And  why?  The  only  concrete 
charge  which  may  be  placed  against 
him  now  is  that  he  stayed  a  wild 
partv.  Well.  well,  what  do  you  make 
of  that? 

Suppose  you  take  a  drive  around 
Hollywood  about  midnight.  Tour 
through  Hollywoodland,  drive  flown 
Franklin  Avenue  from  Vermoi 
I.a  Brea,  motor  up  Laurel  Canyon. 
then  wind  out  Sunset  Boulevard  to 
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He's  Here  to  Stay 

Contiaued  from  page  74 


"When  I  looked  about,"  said  he, 
"I  said  to  myself,  'H'm,  this  will  cost 
me  plenty.'  And  then  the  manager 
came  and  told  me  I  was  to  be  their 
must.  All  the  people  there  were 
very  friendly,  very  kind.  Later  I 
math'  a  personal  appearance  at  the 
theater,  which  is  a  part  of  the  hotel." 

It  has  been  reported  that  Nils  in- 
tends to  make  his  home  in  Mexico 
City,  but  evidently  he  has  not  been 
in  formed  of  this  important  change  in 
his  life.  Even  if  it  were  possible  for 
him  to  make  pictures  there,  I  doubt 
whether  he  wishes  to  tackle  another 
new  language  just  at  present. 

Nils  has  for  a  long  time  lived  at 
Malibu  Beach,  where  there  are  no 
telephones,  and  the  eternal  billowing 
of  the  waves  takes  the  place  of  radios. 
His  home  is  small  and  weather- 
beaten,  but  wonderfully  homy  and 
tranquil.  Facing  the  ocean,  as  it 
does,  the  tides  roll  up  almost  to  the 
front  gate.  The  yard  is  a  small 
square,  where  one  sinks  in  the  sand 
at  every  step.  In  one  corner  there 
is  a  platform  and  boxing  parapher- 
nalia, where  Nils  works  out  to  keep 
in  fighting  trim.  Every  morning 
when  he  does  not  have  to  be  at  the 
studio  he  may  be  seen,  clad  only  in 
bathing  trunks,  taking  a  dip  in  the 
ocean.  A  colored  man  is  his  only 
servant. 

So  attached  is  Nils  to  his  home 
that  he  refused  to  extend  his  vaude- 
ville tour,  although  he  was  receiving 
an  enormous  salary. 

Mr.  Asther  speaks  with  admira- 
tion of  the  American  school  system, 
which  does  not  require  such  grueling 
study  from  the  pupils. 

"When  I  drive  by  school  houses 
here  I  notice  how  carefree  the  chil- 
dren seem.  In  Sweden  it  was  study, 
study  all  the  time.  Here  athletics 
are  a  pleasure,  there  they  are  a  duty." 

I  suggested  that  perhaps  Europeans 
are  better  educated  than  Americans. 

"I  do  not  think  so,"  he  said. 
"After  all,  we  do  not  learn  so  much 
in  school.  We  learn  most  after  we 
leave  school.  I  do  not  remember 
much  that  I  learned  as  a  boy,  except 
in  a  subconscious  way.  When  I  have 
to  learn  a  language,  or  something  dif- 
ficult, the  things  T  was  taught  in 
school  come  back  to  me  vaguely. 
Perhaps  it  was  a  good  foundation  for 
me,  all  that  stud}-,  but  T  like  best  the 
way  they  do  here — the  way  we  do 
here,"  he  amended.  Then,  smiling, 
"I  have  taken  out  first  citizenship 
papers." 

Xils  is  a  chap  of  whom  Uncle  Sam 
may  be  proud.      It   is  evident   that   a 


change  has  developed  in  him  since 
he  came  to  this  country.  I  used  to 
see  him  about  the  studios  or  at  the 
hotels,  sometimes  bareheaded,  some- 
times wearing  a  Basque  cap.  He 
seemed  rather  imperious  and  Con- 
tinental, gazing  at  one  with  a  steady, 
speculative  expression  that  was  a  bit 
disconcerting.  One  plump  and  hope- 
ful journalist  wrote  that  Nils  made 
love  to  her  during  their  talk — which 
did  not  enhance  my  opinion  of  him. 
Others  shared  my  disillusionment. 

"What  a  pagan  love  song  he  turned 
out  to  be !"  scoffed  a  friend,  after 
reading  about  the  incident. 

Another,  on  hearing  that  I  had 
been  assigned  to  do  a  story  about 
him,  recalled  his  reported  escapades 
and  tried  to  scare  me  with  dire  pre- 
dictions. "Remember,"  said  she,  "he 
throws  pianos  out  third-story  win- 
dow's ;  and  I  imagine  he  would  just 
as  soon  make  it  pianos  and  writers !" 

But  whatever  unbridled  impulses 
Nils  brought  with  him  from  the  Land 
of  the  Midnight  Sun,  he  seems  tame 
enough  now.  His  suave  and  charm- 
ing courtesy  extends  not  only  to  in- 
terviewers and  friends,  but  to  all  with 
whom  he  comes  in  contact.  Recently 
a  police  officer,  with  a  gleam  of  ad- 
miration in  his  Celtic  eyes,  told  me 
of  how  Nils  had  appealed  to  him  to 
find  his  car  which  a  friend  had  driven 
and  misplaced.  Nils'  Chesterfieldian 
manner  and  pecuniary  generosity  so 
impressed  the  officer  that  he  forgot 
to  make  any  arrests  for  several 
hours. 

But  for  all  his  Americanization, 
Nils  will  always  be  a  little  of  a  re- 
cluse, a  little  detached  from  the 
crowd.  Like  hio  countrywoman, 
Garbo,  he  likes  solitude  and  the  sea. 
Although  Asther  is  far  more  sociable 
than  Greta,  it  is  doubtful  if  he  will 
ever  reach  the  "Hello,  folks,"  stage. 
Which  is  a  lucky  break  for  all  con- 
cerned. 

Perhaps  something  should  be  said 
about  the  appearance  of  this  tall  and 
unusual-looking  man.  His  features 
and  the  contours  of  his  face  incline 
to  a  slightly  Mongolian  cast,  with 
black  brows  that  sweep  up  and  out 
from  the  bridge  of  his  nose  like  the 
wings  of  a  bird. 

At  the  present  time  Nils  is  going 
through  a  period  of  readjustment  and 
his  comeback  is  inevitable.  With  his 
experience  and  his  thoroughly  proven 
ability  it  will  require  only  a  suitable 
opportunity  to  bring  him  again  into 
the  front  rank,  his  art  the  more  ma- 
ture and  sympathetic  for  his  having 
been  through  a  siege  of  waiting,  un- 
certainty, and  self-discipline. 


Ill 


What  the   Fans  Think 

Continued  from  page  107 


should  conclude  her  vaudeville  tour  and 
return   to   picture  -  >n. 

1  wonder  why   the  average  movie  audi- 
ijectionable     i  iurse, 

I'm  one  of  them,  but  I  don't  elan,  or 
comment  vulgarly  on  some  scene,  or  make 
fun   of    the    love    scenes  many    do. 

I    wish    dapping    were    not    allowed.      It    is 
not    only    the    children    who    di>     it,     but 
grown-ups,   with    supposedly    the   average 
amount  of   intelligence.     And   if  tiny  chil- 
dren   are    brought,    they     should    be    kept 
quiet.     It  can  be  done,  lor  I  have  a  friend 
keeps  her  children  remarkably  quiet 
while  at  a  movie.        Marion    L.    11 
154  Elm  Street. 
Elizabeth,    New   Jersey. 

Speaking  of  Personality 

If  Ramon  Novarro  reads  this  depart- 
ment, it  must  afford  him  a  great  deal  of 
Bcation  to  encounter  so  many  letters 
from  loyal  fans.  Gene  Charteris  cer- 
tainly put  his  foot  into  it.  The  manner 
in  which  the  Novarro  fans  tore  into  Gene 
very  amusing.  With  bowed  head  and 
shameful  blushes,  however,  I  must  admit 
that  I  must  put  myself  in  Gene's  com- 
pany as  one  who  has  not  yet  seen  the 
light. 

But  I'm  not  writing  to  denounce  No- 
varro, I  merely  want  to  join  the 
army  who  are  lauding  Greta  Garbo  for 
her  wonderful  performance  as  Anna 
Christie.  I've  always  admired  her  for  her 
fascinating  personality,  but  was  never 
quite  certain  whether  or  not  she  could 
act.  "Anna  Christie"  proves  that  she  is 
not  only  a  fine  actress,  but  one  of  the 
finest  on  the  screen.  And  the  Garbo 
voice  is  fully  as  individual  and  attractive 
as  the  Garbo  personality. 

Speaking  of  personality  brings  to  mind 
-:ce  Chevalier,  who  is  as  gifted  in 
the  art  of  distributing  happiness  as  Emil 
Jannings  is  in  portraying  tragedy.  They 
are  both  great  artists.  I  thought  Maurice 
particularly  charming  in  "Innocents  of 
Paris,"  although  he  was  good  in  "The 
Love  Parade."  too.  even  if  he  was  some- 
what miscast.  This  latter  picture  cer- 
tainly boasted  a  talented  cast.  I  didn't 
care  for  the  story,  nor  the  comic-ope  a 
manner  of  introducing  songs  at  inoppor- 
tune moments,  but  the  director,  the  star, 
and  the  cast  fascinated  me  to  the  extent 
that  I  saw  the  film  the  second  time. 

Dee  Chapman-. 

Los   Angeles,  California. 

"He-men"   or   "Youth." 

One  reads  a   lot  these  days   about  how 

the   masculine   type   of   screen    favorite    is 

changing.      It    seems    that    since    voice    is 

the  main  thing  to  be  considered,   nothing 

e  much   matt 

It  is  true  that  Jack  Oakie  is  one  of  the 

•  popular  stars  right  now.  and  he  cer- 
tainly doc-  not  fall  in  with  the  usual  ty.e 

•  rreen    hero.      We    have    aUo    accepted 
rice   Chevalier  and   Charles    Bickford 

— of    the    new    order — and    teem    to    have 
Edmund    I 
[cLagien,  and 
But    who    can    truthfully    say    that    any 
one   of    these   men    is    looked    upon    more 
favorably,   at  feminin 

of    the    audience,    than    William    II 
Buddy    I  or    Rich- 

ard Arlcn?     After  all,  it  iininc 

portion  of  fandom  that  largely  determines 
wh"  be.    a 

n  you  blame  r  pre- 

:ng  a  young  and  attractive  man  to  the 


more  virile  type,  who 'has  a  voice  to  match 
his  physique — but  not  a   fa< 

If  the  tans  were  to  •belie  ve  all  the  pub 

licity    thai    is    written    about    some    ot     tlu- 
new  players,  such  as  Lawrence    Hbbett,  it 

would  \k  easy  to  believe   that   all  I   man 

needs  for  instant  success  on  the  screen 
to-daj  is  a  powerful  voice  and  a  ; 
ful  personality.  Those  two  qualities  <lo 
help,  but  there  are  other  things  to  be 
dered.  Thank  goodness,  there  .ire 
Still  many  of  us  who  have  enough  sense 
to  judge  our  favorites  by  what  we  actu- 
ally think,  rather  than  what  the  press 
agents   try   to   make   lis   belii 

Favorites  SUCh  as  Richard  Dix,  1 
aid  Colman,  Richard  Barthelmess,  Gary 
r,  and  George  O'Brien  have  been  on 
the  top  for  some  time,  both  during  the 
silent  regime  and  audible.  Acknowledging 
this  to  be  true,  then  why  say  that  it  is 
unusual  for  the  "he-man    to  he  favored? 

Good  voices  and  acting  are  essential, 
but  don't  try  to  make  up  our  minds  for 
us  that  we  don't  also  want  to  see  youth 
and  good  look — because  we  do  I  And  all 
four  factors  are  a  part  of  the  liking  we 
have  for  Rogers,  Haines,  Withers,  and 
Arlen.  But  1  can't  say  as  much  for  the 
other  group,  consisting  of  Chevalier,  Rick- 
ford,   Mcl.aglen,  and   Bancroft. 

Of  course,  Jack  Oakie  is  excepted — he 
could  be  any  old  thing  and  we  would  still 
want  to  see  and  hear  him  as  much  as 
ever!  Fi.lex  W.  'White. 

5247  Florence  Avenue, 

Philadelphia,    Pennsylvania. 

Talkies  and  Filipinos. 

I  have  no  objection  to  silent  pictures. 
I  believe,  in  fact,  that  they  have  at  least 
one  advantage  over  the  talkies,  and  it  is 
that  they  give  individuality  to  the  screen. 
I  agree  with  Joyce  Kilmer  that  they  have 
given  rebirth  to  the  lost  art  of  pantomime. 
I  am  always  for  a  silent  picture  when  it 
is  best  for  it  to  be  silent,  just  as  I  am 
always  against  a  talkie  when  it  should  not 
be  that.  For  instance,  I  think  it  would 
be  a  crime  against  art  to  make  a  talkie 
version  of  that  masterpiece,  "Sunrise." 
On  the  other  hand,  to  reduce  "The  Trial 
of  Mary  Dugan"  to  silence  is  absolutely 
unthinkable. 

Lucas  Arciaga  contends  that  talkies  will 
deprive  people  here  in  the  Philippines  of 
their  principal  source  of  enjoyment.  I 
beg  leave  to  differ.  An  overwhelming 
number  of  Filipinos  speak  English,  and 
it  is  quite  well  known  that  the  majority 
of  fans  among  them  prefer  the  talkies. 
Recently  the  most  widely  read  paper  in 
the  Philippines  sounded  public  opinion, 
with  the  result  that  it  was  found  out  that 
thirds  of  Filipino  fans  enjoy  talkies 
more  than  silent  pictures.  And  who  will 
deny  that  owners  have  r 

with  the  advent  of  talking 
picti: 

I  am  sorry  that  the  talkies  have  de- 
prived   1!  il    Jannings    and 

•    I   cannot   overlook  the 
fact  that,  without  talking  pictures,  I  might 

-  have  had  til 
hearing  such  genuine  arl  Uith  Chat- 

late    Jeanne 
Eag  Mor- 

ind   many 

and 
pra'  lemn   the   latter   and 

— and,  if  you  will,  color,  I 

I".     I.ITIATi  o 
Care   of   Graphic. 

lila, 
Philippine    I 


HER  .girl  friends  shrug-  their  shoulders. 
Men  misunderstand.  Month  after  month, 
she  breaks  treasured  dates.  The  old. old 
story  of  excruciatingly  painful  per; 

The  specialists  have  brought  relief  for 
the  woman  who  will  accept  it.  MidoL 
Non-narcotic  tablets  that  banish  all  such 
pain.  They  are  n<  I  just  another  "pain- 
killer" but  a  specific  relief  for  menstrual 
pain.  They  make  the  process  quite  pain- 
Their action  IS  direct,  they  relieve 

the  actual,  organic  pain.  It  requires  only 
five  to  seven  minutes  for  Midol  to  take 
effect!  And  they  arc  perfectly  harm- 
less.    Is  it  not   folly  to  suffer' 

Try  this  scientific  and  certain  form  of 
relief  next  time!  No  matter  how  many 
things  you've  tried  in  vain.  Xo  matter 
how  hard  a  time  you've  always  had.  As 
surely  as  you  take  a  Midol  tablet  you'll 
get  relief,  [f  you  take  it  in  time,  the  pain 
need  not  start  at  all.     Tin's  has  been  the 

experience  of  at  hast  a  million  women. 
Many  of  them  carry  Midol  with  them, 
to  be  sure  of  having  it  on  hand.  The  tiny 
it  comes  in  will  tuck  into  the  pt 
ry  drugstore  has  this  most  merciful 
medicine,  and  you've  only  to  say  "Midol-' 
and  hand  the  druggist  half  a  dollar. 
The  comfort  you'll  re.  urth  ten 

its  price. 
Midol  takes  pain  '>u  the  calendar.   Tt 
to  !><•  tl  ■ 
at  all  times      it  makes  tl"  that 

nfortable 


112 


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The  Last  of  Mr.  Ckane^ 

Continued  from  page  48 


"Feeling  expressed  through  tech- 
nique," he  summed  up  the  old  prob- 
lem  of  what  constitutes  sjood  acting. 
"I  must  feel  a  character's  reactions 
thoroughly.  But  the  expression  of 
that  emotion  cannot  he  left  to  im- 
pulse. Think  it,  figure  out  in  what 
form  such  a  person  would  show  each 
feeling.  I  sit  for  hours,  making  men- 
tal faces. 

"Trouhle  with  youth,  they  won't 
concentrate.  They  dog  the  studios 
for  work  and  when  they  can't  get  it, 
they  fritter  their  time  away  whining 
about  tough  luck,  or  dreaming  of 
what  they'll  do  when  they're  famous. 
Instead,  after  making  the  rounds  of 
the  studios,  a  young  fellow  should  go 
home  and  think,  visualizing  different 
types  of  people,  meditating,  'Suppose 
I  were  such-and-such,  how  would  I 
feel  and  act?'. 

"Success  is  a  hit-and-miss  proposi- 
tion, but  if  crude  talent  is  there,  it 
will  shine  through  poor  roles  even- 
tually." 

Sure,  he's  a  tough  bird,  that  one. 
Only  a  cactus-hearted  guy  would 
adopt  an  errant  gray  cat,  thoughtfully 
garner  scraps  from  the  studio  com- 
missary to  feed  it,  name  it  Butch,  and 
make  a  companion  of  it.  Only  a 
thirty-minute  egg  would  stop  an  ex- 
pensive production  when  an  extra  is 
slightly  injured  by  a  blank  cartridge 
that  he  might  be  sent  to  a  hospital 
immediately,  for  fear  delay  might 
cause  blood  poisoning.  Nobody  hut 
a  cruel  wretch  would  climb  a  slippery 
roof  on  a  rainy  day  to  rescue  baby 
birds  which  the  storm  had  blown 
from  their  nest. 

Oh,  they  don't  make  'em  much 
meaner  than  Chaney ! 

Blame  the  hard  row  he  had  to  hoe 
for  making  him  such  a  "softie."  No- 
body smoothed  his  path,  though  he  is 
indignant  at  a  "life  story"  which  ac- 
credited him  with  having  been  a  poor, 
emaciated  youngster,  victim  of  an  un- 
happy childhood.  That  he  declares 
false. 

"My  parents  were  deaf  mutes,  but 
we  belonged  to  the  white-collar  class. 
T  only  got  through  the  fourth  grade, 
hut  don't  a  lot  of  kids  in  normal 
homes  go  to  work  early,  to  help  out? 
T  was  a  prop  boy  in  a  theater  at 
Colorado  Springs.  Watched  the  ac- 
tors, copied  the  performers,  until  I 
could  sing  .  ud  dance.  I  first  ap- 
peared at  sixteen,  in  a  stage  hands' 
benefit.  Still  carry  my  membership 
card." 

1  [e  was  second  comedian  for  Kolb 
'and  Dill,  and  came  to  California  as 
.comedian  with  a  musical  comedy. 
■  His  firsl  picture  work,  as  extra,  was 


followed  by  Westerns.  For  a  time 
he  directed  J.  Warren  Kerrigan.  He 
did  not  deliberately  evolve  what  was 
to  become  his  career's  motif.  It  was 
accidental.  A  director  cast  him  as  a 
hunchback,  leaving  to  his  ingenuity 
the  dressing  of  the  role.  After  that, 
he  played  straight  leads  again,  until 
"The  Miracle  Man"  established  his 
particular  forte.  That  he  calls  "the 
only  perfect  film  ever  produced." 

Since  then,  he  has  concentrated 
upon  making  art  out  of  life's  seamy 
sides  and  horror  fascinating.  The 
directors  did  not  welcome  the  pro- 
posed innovation ;  he  had  to  "sell" 
the  idea  for  each.  No  pain  was  too 
great,  that  a  misery-laden  character 
might  be  achieved.  He  strapped  his 
feet  behind  him,  for  hours  at  a 
stretch,  to  appear  legless.  He 
weighted  himself  with  heavy  ap- 
paratus to  seem  humpbacked,  wore 
dozens  of  contraptions  in  imitation 
of  the  maimed. 

Those  shadows  of  a  monstrous 
terror,  of  misshapen  bodies  and 
twisted  souls,  Calibans,  Scrooges  of 
a  Machiavellian  cunning,  derelicts  of 
the  city's  brackish  backwaters,  were 
evolved  by  detailed  thought  and  ef- 
fort of  many  weeks.  His  make-up 
kit,  with  its  two  hundred  sets  of  false 
teeth,  innumerable  devices  for  slant- 
ing the  eyes,  for  changing  the  face  by 
puttying  features  or  spatulating  them, 
is  the  most  elaborate  owned  by  any 
actor. 

His  strains  of  French,  German, 
English,  and  Irish  blood  may  ac- 
count, to  some  extent,  for  his  ready 
sympathy   with    a   variety    of    types. 

"I  feel  sorry  for  the  fellow  who 
gets  licked,  if  he  really  has  tried.  For 
the  one  handicapped,  either  physically 
or  mentally.  For  those  who  take 
their  medicine  of  punishment  man- 
fully. For  those  who  have  made 
mistakes  and  are  feeling  their  way  to 
the  light,  to  the  right." 

Down  on  motley  Main  Street,  the 
haunts  of  society's  misfits,  and  among 
circuses  and  cheap  carnivals,  he  finds 
his  characters.  He  doesn't  ask  them  . 
to  dissect  their  feelings,  in  that  su- 
perior attitude  of  an  actor  seeking 
"color."  He  never  questions.  He 
waits.  They  are  suspicious  of  his 
interest,  at  first,  but  gradually  they 
spill  troubles  and  confidences,  and 
accept  his  advice,  which  proves 
sound.  Through  them  he  has  learned 
to  manufacture  his  "thousand  faces." 

In  being  humanized,  will  this  mys- 
terious phantom  of  the. screen  catch 
and  hold  your  attention  as  greatly  as 
he  did  when  he  was  only  a  shadow 
from  an  imatrinarv  world? 


113 


'Tke   Incomparable   CkeValier 
>ni  page  34 

follows  the  script  unhesitatingly,  and 
trusts  his  director  as  his  god  to  lead 
him  out   oi   the  wilderness   suca  ss 

fully,  with  retakes  to  tall  hack  on  in 
ot"  misstep.  Chevalier,  you  might 
know,  is  different.  Before  rehears- 
ing a  scene  he  consults  script  and 
director,  then  discusses  the  lightness 
the  proposed  action.  No  detail  is 
too  small  to  escape  his  attention. 

Although  a  sufficiently  experienced 
showman  to  appreciate  the  value  of 
artistic  ballyhoo,  Chevalier  objected 
strongly  to  making  a  trailer  to  adver- 
tise his  forthcoming  him  in  South 
America. 

"I  cannot  speak  Spanish."  he  pro- 

ted. 

*That  is  all  right,  kid."  the  press 
department  was  quick  to  reply.  He 
would  simply  read  a  speech  printed 
on  a  huge  blackboard  in  hack  of  the 
camera,  well  out  of  sight.  Unwill- 
ingly he  consented. 

The  speech  was  prepared,  accents 
indicated,  microphone  set  up,  every- 
thing in  readine— 

As  he  proceeded  he  grew  more  and 
more  irritated.  He  didn't  know  what 
he  was  saying :  the  words  sounded 
meaningless  and  harsh :  he  disliked 
the  ordeal  tremendously.  The  cli- 
max came  when  he  hit  upon  a  poly- 
syllabic Andalusian  verb,  tackled  it 
and  stuttered. 

"That's  enough !"  he  roared.  The 
Chevalier  straw  hat  sailed  across  the 
stage.  "I  stop  now!  Trailer  or  no 
trailer.  I  stop.  I  speak  fair  Eng- 
lish, I  speak  good  French,  but  I  speak 
no  Spanish !" 

After  spending  an  afternoon  with 
the  personable  actor,  one  would  sus- 
pect that  he  was  an  altogether  un- 
pretentious fellow,  and  further  in- 
vestigation reveals  that  he 

He  drives  a  Ford,  eats  at  Keen's 
Chop  House,  and  eschews  drawing- 
rooms  when  crossing  the  continent. 
He  is  mild  in  his  statements,  but  sub- 
tle. When  he  says  that  Hollywood 
M  ri-i-ight."  the  drawling  inflec- 
tion tells  you  the  whole  story,  yet  he 
has  not  made  such  a  thing  as  a  faux 
pas.  Mais  non!  In  the  same  manner 
as  '  his  sly  songs  he  sj  ■ 

his    candid    opinions,    yet    you    must 
discover  what  he  really  mean*.     He 
diplomat  with  a  humor. 

I  doubt  if  he  likes  this  country.  I 
dou1  if   he   enjoys   studio 

work.     Rut  he  is  practical ;  and 
a  si: 
dec.-; 

•  compare  him,  at  the  moment, 
with  any  one.  is  unfair.     At  the  | 
ent  writing,  summer  of    1930,   Mau- 
rice is  the  incomparable  Chevali 


Feed  Fat  Away 


Two  grains  of  gland /bod 

daily.  That's  what  science 
HOW  employs 

Modem  science  is  using  a  I",  '>! 
iii  t he  fight  on  excess  Fat.  The  re 
!u\  e  been  remarkable.  Fat  hat  been  dia« 
appearing  f-i s t  since  this  Factor  was  dis- 
tred.  rou  see  that  in  every  circle. 
Slender  figures  arc  the  rule. 

The   story   is    this:    £  is   ago 

meJic.il  research  discovered  .1  I'le. it  cause 

fat.  It  lies  in  an  uiuler-a. 
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When   that   gland    weakens,   too   much 
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Thousands  of  tests  were  made  on  ani- 
mals by  feeding  this  gland  substance. 
Reports  showed  that  almost  invariably 
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were  made  on  people  and  with  similar 
results.  They  were  fed  this  gland  sub- 
stance taken  from  cattle  and  sheep. 

Physicians  the  world  over  now  em- 
ploy this  method  in  the  treatment  of 
obesity.  They  combat  the  cause.  That  is 
one  great  reason  why  excess  fat  is  so 
much  less  common  now. 

This  gland  weakness  often  came  about 
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Normal  Figures  Everywhere 

Marmola  prescription  tablets  are  based 
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They  are  now  seen  in  every  circle. 
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then  :i  \\  ho  i  •  over-fat  sees 

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Mannol.i  contain  .  tin-  !  II  inula,  also  the 
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The  use  of  Marmola  docs  not  require 
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Do  this  now.  Get  a  box  of  Marmola, 
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When  a  Lady  Rolls  for  Luck 

Continued  from  page   100 


important  to  me,  anyhow.  But  she 
motioned  me  to  silence.  "And 
Clarke  and  I  were  drifting  farther 
and  farther  apart.  Me  wasn't  doing 
anything.  I  didn't  mind  that,  be- 
cause in  spite  of  everything  I  still 
cared  for  him.  But  he  used  to  sit 
home  and  tell  me  what  a  rotten  ac- 
tress I  was,  and  how  good  he  was  and 
all  that  sort  of  thing. 

"I'm  terribly  nervous  and  can't 
drive  a  car.  lie  wouldn't  even  take 
me  to  the  studio  or  call  for  me.  If  I 
suggested  it  he'd  ask  if  I  thought  he 
was  a  chauffeur.  So  I  had  to  take  a 
taxi  to  and  from  work,  while  my  own 
car  stood  in  the  garage. 

"And  then  my  contract  came  up 
for  renewal  and  they  didn't  take  up 
the  option." 

"Dumb-bells!"  I  muttered  hotly. 

"This  time,"  Helen  went  on,  "I 
thought  'Now  I  have  lost  everything. 
I've  lost  my  husband — for  by  that 
time  Clarke  and  I  had  separated — 
I'm  head  over  heels  in  debt,  I  have  no 
job  and  I've  been  away  from  New 
York  so  long  every  one  will  have 
forgotten  me.'  But  I  packed  my 
trunks  to  go  back,  because  there  was 
nothing  else  to  do." 

"I  remember,"  I  put  in. 

"I  had  an  afternoon  to  kill  before 
train  time,"  she  continued.  "I 
couldn't  bear  to  hang  around  the 
house  that  had  seen  the  death  of  all 
my  hopes  and  dreams.  A  girl  asked 
me  to   sfo  to   the   Pathe   studio  with 


her  to  see  about  a  part.  I  went  along 
and  sat  outside  in  her  car  while  she 
went  in.  The  casting  director  hap- 
pened to  glance  out  the  window  and 
saw  me.  fie  came  out  and  asked  if 
I  was  an  actress.  I  told  him  I 
thought  so,  although  even  I  was  be- 
ginning to  doubt  it.  He  invited  me 
in  for  a  test.  I  told  him  I  was  going 
back  to  New  York  that  night. 

'  'For  Heaven's  sake,'  he  said, 
'this  is  the  biggest  opportunity  you 
may  ever  have.  Why  don't  you  take 
a  chance  and  change  your  ticket?'  I 
did,  and  the  next  thing  I  knew  I  was 
signed  for  the  lead  in  'The  Grand 
Parade,'  and  before  that  was  finished 
I  was  signed  on  a  five-year  contract. 
And  that's  all,  I  guess." 

Helen  smiled  that  enigmatic  smile 
of  hers.  "Why  don't  you  take  a 
chance,  too,  and  get  to  work?"  she 
asked.     "It  might  turn  out  good." 

So  we  went  back  into  the  casino, 
and  I  peeled  off  my  coat  and  got  to 
work  on  a  stack  of  chips.  But  when 
I  dropped  them  on  the  red,  the  ball 
stopped  on  the  black,  and  if  I 
dropped  them  on  the  black,  the  red 
seemed  to  exert  a  magnetic  lure  on 
the  marble.  "It's  just  no  use,"  I 
sighed  as  I  struggled  back  into  my 
coat.  "Let's  drive  up  to  Tiajuana 
and  grab  a  mouthful  of  something  in 
one  of  those  joints,"  I  suggested. 

"Yell,"  she  smiled,  "I  don't  know 
much  about  the  food  in  those  places 
— but  I'll  take  a  chance." 


Are  These  Stars  Doomed? 

Continued  from   page  90 

sacrifice  which  is  going  to  burn   up  Who  is  really  to  blame  for  using 

quite  a  few  of  our  present  hits  ?  the  stars  in  such  a  ruthless  way  ?     I 

And  what  of  Joan  Crawford?  Here  know  Al  Jolson  will  sing  a  mammy 

is  a  girl  who  is  being  thrown  to  the  song,  or  sonny-boy  song,  or  the  like, 


public  in  a  series  of  wild-youth  pic- 
tures. If  given  the  chance,  la  Craw- 
ford can  act.  She  has  something  dy- 
namic about  her.  But  in  such  chefs- 
d'eeuvres  as  "Our  Dancing  Daugh- 
ters" and  "Our  Modern  Maidens," 
her  ability  is  lost  in  silly  plots. 

Nevertheless,  so  long  as  the  fans 
like  such  pictures.  Miss  Crawford 
will  be  forced  to  make  them. 


The  Wonderstoen  way  of  removing  needless  hair  is  the  Refined  Method  for 
the  Refined  Woman.    This  magic  rosy  disc  erases  hair  as  easily  as  you 

I  erase  a  pencil  mark.  Just  rotate  Wonderstoen  over  the  skin  and  whisk  the  hair 
away,  leaving  the  skin  hair-free,  velvety-smooth.  Bellin's  Wonderstoen  is 
guaranteed  not  to  contain  Sulphides  or  poisons.  So  safe,  physicians  prescribe 

i  it.  It  is  clean,  odorless,  sanitary,  economical  and  always  ready  for  use. 
Millions  of  women  the  world  over  employ  this  modern  method  for  erasing  hair, 

I  and  thousands  of  unsolicited  testimonials  from  grateful  users  prove  its 
JLA    A«f"°  ■  £~~)     rfel^kaO  »ueccs3.  Wonderstoen  has  been  in  use  for  many  years 

ana. 


Bellin's  Wonderstoen  dc  luxe  (for  arms  and  legs)  $3.00 
Bellin's  Wonderstoen  Facial  (for  chin,  chucks  and  upper  lip)  $1.25 

■uircct  from  ma 


ores,  drug  and  beauty  shops < 
tage  with  each  order).  BELLIN'S  WONDERSTOEN 


NEEDLESS  HAIR      r 


Dent.  S68 


no    Booklet 


GYy/SnHersto€fi) 


in  every  picture  he  makes.  Janet  will 
be  forced  to  sing  or  talk  with  a  smile 
and  a  tear  on  her  face.  Mr.  Bancroft 
will  guffaw  his  way  through  a  few 
more  underworld  plots,  until  his  guf- 
faw is  heard  no  more. 

The  producers  say,  "I'm  sorry,  but 
your  pictures  are  not  going  over  so 
big  this  year,"  when  the  renewal  of 
contracts  comes  up.  The  public  says, 
"I'm  tired  of  seeing  him  in  the  same 
thing."  The  star  is  given  no  quarter. 
The  players  are  merely  youths  and 
maidens  fed  and  clothed  and  pam- 
pered by  the  high  priests  of  the  stu- 
dios, until  the  hour  of  sacrifice  ar- 
rives. Without  regret  the  stars  are 
flung  into  the  machine  of  the  movie 
cult. 

Pity  the  stars.  They  deserve  your 
pity. 


116 


The  BouleVard  Director^ 

(tinned  from  page  B3 


There    is    the    little    ingenue 
chooses    pictures    to   harmonize   with 
the   color    scheme   of   her   house,    re- 
of    subject,    and    innocently 
purchases  somewhat  startling  pi< 
just  because  they  are  the  right  shade. 

:  regular  natrons,  one  of  the 
mo-:  1  Young.     Any 

etching,  lithograph,  statuette,  or 
painting  having  to  do  with  penguins, 
is    tacitly    ui  I    to    belong    to 

0g  immediately.  The  Schild- 
krauts  are  constantly  represented  on 
the  sales  sheet  Pere  Rudolph  likes 
virile  portraits.  Joseph  goes  in  for 
etchings  of  the  modern  Germans, 
while  Elise  Bartlett  prefers  colored 
etchings.     Al  Oiristie  is  notified  on 

arrival  of  any  new  etchings  of 
wire-haired  and  Scottish  terriers,  es- 
pecially if  by  Margaret  Kirmse. 

Braxton   started  Josef  von  Stern- 
berg on  his  collection  of  modern  art, 

'lection  which  is  now  one  of  the 
finest  in  California.  In  the  modern- 
ise  Yon    Sternberg   apartment   are 


the   best    examp  '     hipenko, 

Picasso,     Brancusi,     and     contempo- 
raries.    Another  collection  of  in 

ing  proportions,  supplied  in  the  main 
by  Braxton,  is  that  of  Jules  Furth- 
man.  scenario  writer.  I  lis  modern 
etchings,  wood  blocks,  and  litho- 
graphs are  so  numerous  he  has  cata- 
1  them. 

Lionel  Barrymore,  who  studied  for 
four  years  at  the  Julien  Academy  in 
Paris,  and  is  himself  an  excellent 
painter,  is  a  constant  customer  and 
visitor.  As  are  Anders  Randolf,  an- 
other good  painter,  King  Yidor  and 
Eleanor  Boardman,  Raymond  Grif- 
fith, Irene  Rich,  Lawrence  Tibbett, 
Lilyan  Tashman,  Jean  Hersholt,  and 
Mary  Astor. 

Time  was  when  ecstatic  tourists 
had  to  wait  on  Boulevard  corners  in 
hope  of  a  brief  glimpse  of  stars  en 
passant.  Now  the  Braxton  Gallery 
serves  this  purpose,  along  with  its 
intended  function. 


Trie  Master}?  of  Your  Name 

Continued  from  page  98 

A     clever,     experienced     bush 
woman  who  inherited  about  twenty- 
five  thousand  dollars  three  years  ago 
eager  to  invest   it  at  once,  but 


have  to  brush  away  shadows  at  every  turn. 
But  your  wonderful  activity  will  make  you 
go  through  with  it  successfully.  You  are 
full  of  intelligence,  love  of  intellectual 
things,  with  a  great  power  of  expression, 


writer.  If  you  have  never  thought  of  it, 
begin  at  once.  In  fact,  you  are  at  the 
best  possible  age  for  doing  so,  since  you 
have  intuition,  creative  ability,  and  suc- 
cessful financial  activity  all  with  you  right 
now.  You  have  on  the  whole  a  very  con- 
tented disposition  in  spite  of  some  present 
depression,  never  getting  excited  as  some 
pirls  do  about  money  or  love,  and  able  to 
be  very  happy  alone  when  necessary.  This 
is  due  to  your  universal  understanding  of 
life,  which  makes  you  realize  that  you  are 
only  one  unit  in  an  infinite  existence,  and 
that  it  is  up  to  you  to  make  the  most   of 


idvised  that  the  only  safe  thing    and  you   should   make   a  very   successful 
she  could  do  for  the  next  four  years 
was  to  salt  it  away.     On  no  account 
must    she    speculate,    for    her    name 
showed    that    she   would   be    sure   to 

because  of  the  number  she  had 

at  the  time  to  live  through.    Eighteen 

months  later  she  reappeared.    Twen- 

ne     thousand     dollars     had     slid 

n   the  pit  of   margins   and   still 

more  margins.     Her  financial  ad 

looking  this  time  for  help  in 
finding  just  the  right  investment  that  what  youhave  now.  A-  yon  i^row  older 
would  permit  her  to  recoup  her 
losses,  and  felt  positively  abused  on 
being  told  that  not  even  a  hundred 
thousand  would  save  her,  let  alone 
her  remaining  four  thousand,  until 
the  end  of  the  time  appoint' 

" ia.11  I  be  rich?"  is  a  universal 
cry.  The  world  overflows  with 
riches  in  gold,  in  possibilities,  in  fu- 
ture certainties,  in  inventions  that 
have  not  yet  come  to  light.  Some 
of  it  is  yours  if  you  know  how  t< 

abilities,  and  if  you  are  willing 
:ve  in   return   for  what  you 
ceive. 


I.  ember  17.  190o — .Vrording 

ur  birth  path,  you   will   alv. 
more  than  the  fair  amount  of  trouble  with 
anything  you  try  to  accomplish.     You  will 


you  will  have  a  preat  deal  of  money,  and 
be  really  rich,  with  your  name  as  it  is 
now,  of  course,  when  past  middle  ape. 
Up  to  the  age  of  twenty  you  were  never 
very  strong;  You  suffered  from  your 
chest  when  you  were  *ix  and  again  at 
fifteen  or   sixteen.     When   you   were  nine- 

and  twenty  you  had  a  hoy   friej 
medium   height,    with    dark-blue    eyes    and 
dark   hair,    who   was    very   kind    and    gen- 
erous.    Before  you  are  three  y< 
you    will   have   a  chance  to  marry,   and    I 
SUPDOS«  nothing  will   -t  it  if  you 

Ot   to   spoil   the    fine    promise  of 
your   own   name.     This   new   admirer 

:ium  heipht,   rath'-  with 

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i  divorce, 
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hunch.  If  you  let  somebody  else  tell  you 
you  are  wrong,  when  you  feel  in  your 
soul  that  you  are  right,  and  do  not  act 
upon  your  spiritual  certainty,  things  are 
^urc  to  go  badly.  This  is  true  in  an  un- 
usual degree  throughout  all  the  years  of 
your  life.  You  also  have  a  great  leaning 
toward  idealistic  and  spiritual  things,  and 
if  you  chose  you  would  make  a  fine  min- 
ister or  priest.  You  will  especially  love 
the  artistic,  aesthetic  side  of  any  religion, 
for  no  matter  what  you  do,  it  will  have 
some  connection  with  beauty,  and  you  are 
particularly  fond  of  music.  All  of  this, 
however,  will  not  give  you  success  in  love. 
So  far  love  has  been  to  you  a  thing  of  the 
imagination,  and  it  will  never  be  more, 
because  there  is  no  profound  love  at- 
traction in  your  life,  and  anything  less 
will  be  trouble  and  shadows.  You  are 
incapable  of  a  happy,  superficial  love  af- 
fair. In  the  material  world  you  are  go- 
ing to  be  very  active  and  very  successful, 
a  leader  in  whatever  you  take  up,  with 
plenty  of  money  as  you  grow  older.  You 
have  a  hot  temper,  but  you  do  your  best 
to  curb  it.  You  were  a  regular  boy  before 
you  were  three,  always  extremely  gener- 
ous and  affectionate  as  you  grew  older, 
and  a  very  good-looking  youngster  be- 
tween twelve  and  sixteen ;  in  fact,  you 
will  always  be  very  attractive  in  appear- 
ance. At  about  sixteen  you  had  some 
trouble  of  the  throat  or  chest,  but  it  was 
not  very  serious,  and  now  you  are  very 
active,  fiery,  and  independent.  Let  me 
give  you  a  little  warning.  Do  not  let  your 
imagination  run  away  with  you  right  now 
and  make  you  think  you  are  in  love  with 
some  girl  who  has  already  been  married. 

F.  M.  I.,  February  16,  1909. — For  good- 
ness' sake,  get  some  spunk !  You  are  so 
good-natured  that  it  is  a  shame.  You  don't 
care  what  happens,  and  if  you  don't  look 
out,  a  whole  lot  will  happen,  although  I 
admit  that  you  will  not  take  that  very 
hard,  either.  Three  out  of  the  four  large 
totals  of  your  name  indicate  this  unwill- 
ingness to  fight  for  anything,  no  matter 
how  much  it  may  be  worth  having,  and 
they  also  show  that  you  are  very  much 
misunderstood.  So  to  avoid  getting  into 
an  argument  with  people,  you  keep  still, 
and  you  are  also  able  to  get  a  lot  of  fun 
out  of  life  when  you  are  alone.  With  this 
name,  if  you  do  not  marry,  you  will  have 
plenty  of  money  when  you  are  old,  but 
that  is  a  long  time  to  wait,  and  in  the 
meantime  you  will  have  much  too  much 
trouble  and  disappointment.  Don't  you 
see,  there  is  no  virtue  in  saying,  "Oh, 
well,  I'll  get  along  anyway."  You  like 
to  do  things  for  people,  and  they  don't 
thank  you  for  it,  partly  because  you  hardly 
care  whether  they  thank  you  or  not.  You 
were  an  unusually  pretty  little  girl  up  to 
the  age  of  six.  Between  the  ages  of 
eight  and  eleven  you  fell  and  cut  your- 
self badly.  At  present  you  are  practically 
penniless,  unless  you  do  not  have  to  earn 
your  living,  and  you  are  very  uncertain 
about  your  love  affair.  If  you  want  to 
be  happy  afterward,  and  skip  a  real  mis- 
fortune, marry  between  twenty-five  and 
twenty-eight,  not  before  or  after,  if  you 
can  help  it.  At  this  age,  besides  the  abil- 
ity to  marry  happily,  you  will  have  more 
spunk  and  independence  than  at  any  other 
time  in  your  life,  and  I  do  hope  you  use 
it.  You  can't  help  being  willing  to  say  yes 
to  people,  and  as  the  man  you  will  be 
able  to  marry  then  will  be  very  masterful 
himself,  in  spite  of  great  kindness  and 
generosity,  he  will  be  just  the  man  to 
make  you  happy. 

L.  Z.,  October  26,  1887.— You  have  a 
very  unusual  name,  for  short  as  it  is,  it 
contains    only    one    negative    letter.      You 


were  born  under  the  path  of  art  and 
music  and  charm,  and  the  complete  digit 
for  your  whole  life  gives  the  same  figure 
once  more,  so  that  you  really  will  express 
fully  what  you  were  meant  to  be.  You 
love  music  above  anything  else,  and  I  can- 
not believe  that  you  have  not  studied  it 
and  become  very  proficient  in  it,  especially 
up  to  the  age  of  thirty-two.  You  are  a 
very  handsome  man,  a  wonderful  attrac- 
tion to  women,  and  you  will  keep  this 
charm  until  your  last  breath,  which  is  so 
far  off  that  I  cannot  find  it  in  your  name 
at  all !  You  are  an  old  soul,  with  a  uni- 
versal attitude  toward  life  that  makes 
you  overlook  petty  troubles,  and  you  are 
very  much  misunderstood,  largely  because 
you  act  through  flashes  of  intuition  instead 
of  through  cold,  clear  reason.  You  also 
have  very  fine  creative  ability,  and  if  you 
use  that  wonderful  intuition  or  hunch  of 
yours  to  put  your  creative  ideas  to  work 
you  will  have  great  success.  There  has 
always  been  a  great  deal  of  hard  work  in 
your  life,  but  in  the  past  five  of  six  years 
you  have  been  able  to  achieve  things  more 
easily,  and  as  you  grow  older,  you  will 
come  into  real  wealth,  although  it  will  be 
more  through  business,  or  a  .business  ap- 
plication of  art,  than  through  pure  art. 
The  hunch  that  has  served  you  so  well  is 
also  just  now  becoming  more  spiritual  in 
its  activity,  and  you  will  be  deeply  inter- 
ested in  things  of  a  divine  nature.  You 
are  the  kind  of  man  who  can  find  love  at 
any  moment  of  his  life,  but  the  only  time 
when  you  were  intensely,  spiritually  in 
love  yourself  was  at  the  age  of  about 
twenty.  One  thing  you  do  lack  and  that 
is  the  power  to  fight  for  what  you  want. 

P.  E.  G.,  January  21,  1909.— There  is 
very,  very  fine  intelligence,  activity,  spirit- 
ual power  and  success  in  your  name,  dear. 
It  is  the  kind  of  name  you  should  never 
change,  but  most  girls  do,  and  you  will 
also.  By  the  time  you  are  twenty-six  you 
will  be  married,  and  I  only  hope  that  you 
will  not  be  too  quick  and  impulsive  in  your 
choice,  or  let  your  imagination  run  away 
with  you.  On  no  account  marry  a  man 
who  is  not  your  equal  or  superior,  for 
you  cannot  bear  anything  but  the  best,  and 
like  any  woman  with  a  dominating  per- 
sonality, you  want  your  husband  to  stand 
still  higher.  You  are  a  born  speaker  and 
writer,  and  if  you  should  remain  single 
and  take  up  such  work,  you  will  become 
not  only  successful  but  wealthy.  Your 
chief  difficulty  is  your  intense  sense  of 
justice  and  your  insistence  on  having 
everything  perfectly  correct,  true,  exact, 
to  such  an  extent  that  it  often  annoys 
other  people.  Temper  this  a  little  with 
imagination  and  intuition,  of  which  you 
have  plenty,  and  y  u  will  find  life  more 
comfortable,  for  with  your  outspoken, 
forceful  manner,  you  are  just  a  bit  too 
exacting.  However,  you  will  never  lose 
your  temper,  as  there  is  a  wonderful  bal- 
ance of  qualities  in  your  name.  Your 
home  surroundings  must  have'  been  more 
comfortable  than  before  when  you  were 
about  seven,  and  at  the  age  of  ten  or 
eleven  you  had  some  trouble  with  your 
chest,  but  it  was  not  serious,  and  in  the 
past  year  or  two  your  health  has  not  been 
quite  what  it  should  be.  You  will  come 
out  of  that  in  a  year  or  so,  and  be  very 
much  taken  up  by  that  love  that  is  com- 
ing to  you,  undoubtedly  for  a  man  who 
will  be  already  divorced  or  widowed. 

U.  L.  B.,  September  4,  1912.— Well, 
young  man,  you  will  have  to  put  up  a  big 
fight  to  get  to  the  final  success  indicated 
in  your  name,  but  you  can  do  it,  for  you 
have  a  very  fine  mentality,  you  insist  on 
getting  the  facts,  and  you  are  very,  very 
active.      The   number  that   gives   you  a   lot 


117 


of  difficulty  in  the  material  also  rives  you 
a    g:i  tractive    power.      It    is    the 

number    of    mathematics,    mechanical    de- 
sign, some  kind  of  building.     Everything 

in  your  name  is  <.lu.il.  with  trouble  at  tirst 
and  the  overcoming  oi  trouble  later.  \  u 
have  a  birth  path  of  shadows,  but  the  com- 
plete read  that  you 
will  be  wealthy  at  the  end,  with  money 
earned  through  your  own  innate  capai 
L'p  to  ti.i  twenty-eight  you  will 
have  to  get  along  with  little,  lor  the  larger 
income  that  will  suddenly  be  yours  when 
about  twenty-five  will  disappear 
-  u  came.  From  then  on  you  will 
do  very,  very   well,   increasing  in  activity, 

-.  and  success  to  the  end  oi  your  life. 
You  have  not  been  very  well  during  the 

four   years,   and    I    want   you   to   b^e 

r  careful  between  the  ages  of  forty 
and  forty-four,  as  you  are  likely  to  get 
into  -  lent.     Y    u  have  been  think- 

ing about  girls  lately.  Uh>,  haven't  you? 
forget  them  until  you  arc  thirty. 
Then  you  can  marry  with  the  pro>pect 
of  money  to  support  your  love.  Study  in 
the  meantime  for  all  you  are  worth,  in 
night  school  if  necessary,  as  all  your  suc- 

wi'.l    be    through    your   mentality, 
matter   how   much   you   may  apply   it    with 

ban  '-.  Real  estate  is  al>->  an  excel- 
lent field  for  you.  and  I  feel  that  you  will 
make  much  money  in  it.  no  matter  what 
other  work  you  are  engaged  in. 

V.  R.  P..  June  16.  1907.— You  are  one 
of  the  world's  kindest,  most  generous,  lov- 
ing girls,  really  spiritual  in  all  your  points 
of  view.  Money  does  not  mean  a  thing 
to  >  go  out   of   your  way   to   be 

helpful  to  others.  But,  so  far,  all  you 
have  got  out  of  life  has  been  a  good  deal 
of  sickness  and  unhappiness.  There  is  the 
real,  divine  breath  of  life  in  your  spirit- 
ual activity,  your  feelings,  your  hopes,  and 
will  carry  you  through  any  kind  of 
physical  trouble  successfully.  For  the 
fir-:  three  years  of  ><>ur  life  you  were  a 
perfect  little  angel  in  appearance  and  be- 
havior. You  were  very  ill  with  some  fever 
at  five  or  six,  again  at  fifteen,  and  right 
now  you  are  worrying  a  great  deal  about 
your  health.  Please,  dear,  use  all  that 
wonderful,  more  than  human  insight  of 
yours  to  make  yourself  see  that  you  will 
be  all  right  as  far  as  health  goes,  even 
though  not  very  strong.  Don't  take  the 
young  man  seriously  who  will  come  into 
your  life  in  about  thr.  Y  m  will 


like    I  't    it    will    not    be 

although  your  imagination  and  idealism 
may  make  you  think  so,  and  you  will  lose 
him  in  any  case  It  you  listen  to  him  you 
will  be  bitter!  d,  hut    1   know  that 

your     intuition     will     keep     you     -ale         I 

should   like   to   see   you   w.ut   nine   yean 

more  to  get  married  long  as  that  may 
seem — lor  then  you  will  find  love  ill  a 
happy  home  ami  will  have  a  girl  ;"1(1  lw" 
boys.  Your  one  great  difficulty  is  that 
you  live  so  much  in  the  cloud-  that  you 
are   blind    to    the    Stupidity    and    the    in 

rdinary  people,  and  are  heartbroken 
when  you  find  them  out.  Open  your 
human,  as  well  as  your  Spiritual  eyes,  to 
See  tii.it  you  set  your   feet  on  solid  ground. 

F.    R.    (!.    T..    May    1»,    1903.— You    are 

born  under  the  fine  universal  number  ' 
and  had  the  same  number  before  marriage 
in  both  the  material  and  the  divine, 
must  have  been  the  most  easy-going  girl 
in  the  world.  When  you  married 
were  certainly  in  love,  but  in  a  way  you 
just  drifted  into  marrying  a  certain  man, 
when  you  were  about  twenty-one  to 
twenty-three,  and  it  was  your  Lzreat  good 
fortune  that  you  got  exactly  the  one  who 
could  make  you  happy.  Since  marriage 
thing-  have  been  pretty  low  financially, 
but  don't  worry — there  is  plenty  coming 
your  way.  especially  quite  unexpected 
money  at  about  forty-six  and  fifty-seven, 
and  you  always  feel  that  you  have  enough 
to  get  along  somehow.  Home  is  the  place 
love  best  of  all.  You  must  have  a 
little  girl  by  this  time,  and  there  are  three 
darling  hoy-  waiting  to  be  yours  some 
day  I  No  matter  what  you  have  or  don't 
have,  you  will  always  feel  and  know  that 
your  life  has  been  a  happy,  successful 
one,  the  kind  that  you  wanted  it  to  be. 
The  hardest  part  is  already  over,  and  you 
never  took  even  that  very  hard.  Truly 
few  women  are  blessed  with  such  a  lovely 
disposition  and  such  a  happy  life  a-  yours. 
You  have  also  changed  a  great  deal  in 
spirit  since  marriage,  and  you  are  the 
dominating  personality  at  home.  This  is 
a  very  good  thing,  as  it  is  not  easy  to 
command  as  easily  and  kindly  as  you  do. 
Your  one  danger  is  that  you  may  let  your 
imagination  get  the  better  of  you  once  in 
a  while.  You  have  both  dreams  and  ac- 
tivity in  your  name  now.  Be  sure  to  act 
rather  than  dream,  for  that  is  what  you 
need  mo-t. 


Farewell  to  Three  Bad  Ones 


Continued  from  page  85 


carefully  filed . 
and  when,  for  instance,  the  title 
writer  wanted  a  caption  introducing  a 
mother-in-law.  he  would  turn  to  that 
heading  in  his  file. 

lie  palm-  r  the 

three,  hut  the  talkie  era  well-nigh 
ended  their  reign  and  sent  many  of 
them  scurrying  hack  to  the  t\v 
medy  fold. 

The    talkie     requires     careful     ad- 
vance  preparation,   and    the   dir 
who  makes   up 

film 

111'-  gag  man  who  blithely 

ped    in    wlv  d  to 

i  in  funeral  sequen<  that 


lie  is  no  longer  in  demand.  Nor  arc 
pictures  being  butchered  to  make  a 
title  writer's  holiday.  Times  have 
changed,  and  the  survivors  of  the 
once-powerful  comedy  triumvirate 
who  are  carrying  on  in  oral  celluloid 
are  having  to  heat  their  swords  into 
plowshan 

The   talkies,   of   course,   have   their 
faults.      The   dialogue    isn't    alv 
what  it  should  he.  and  sometimes  one 
misses  tin-  speed,  the  surprise,  and 
the  spontaneity  that  featured  the 

•he  period  jusl  past.    Hut 
ell  th«-  triumvirate  whose 
"Anything   for  a   laugh" 
•i   broken   up. 
r  nowada 


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A  Confidential  Guide  to  Current  Releases 


Continued  from  page  67 


"Man  from  Blankley's,  The" — War- 
ner. John  Barrymore  in  broad  farce, 
as  nobleman  taken  for  a  hired  "guest" 
to  fill  in,  because  he  becomes  drunk 
and  gets  into  wrong  house.  Emily  Fitz- 
roy,  Loretta  Young,  the  latter  turning 
out   to    be   the    visitor's   old   sweetheart. 

"High  Society  Blues" — Fox.  Two 
screen  darlings  in  picture  that  cannot 
be  taken  seriously — nor  their  singing. 
Unreal,  infantile  effort,  with  none  of 
the  old  Janet  Gaynor  and  Charles  Far- 
nil.  Hedda  Hopper,  William  Collier, 
Sr.,   Lucien   Littlefield,   Louise   Fazenda. 

"Hell  Harbor" — United  Artists.  Lav- 
ish display  of  movie  making,  but  lack- 
ing in  real  interest,  making  it  routine. 
Moviesque  "child  of  nature,"  Lupe 
Yelez,  about  to  be  bartered  bride  of 
reprobate,  saved  by  handsome  Ameri- 
can, John  Holland.  Realistic  acting  by 
Jean    Hersholt,    Gibson   Gowland. 

"Journey's  End"— Tiffany.  Faithful 
reproduction  of  outstanding  stage  war 
play.  Devoid  of  love  interest  and  dra- 
matic formula  of  screen,  but  strangely 
revealing  life  in  a  dugout.  Cast  in- 
cludes Anthony  Bushell,  Charles  Ger- 
rard,  Billy  Bevan,  Colin  Clive,  Ian  Mac- 
laren,  David  Manners. 

"Mammy" — Warner.  Technicolor  se- 
quences. Al  Jolson  as  a  trouping  min- 
strel has  his  troubles  and  runs  away  to 
his  mammy  in  the  West.  He  returns 
to  face  a  murder  charge,  but  learns 
there  is  none.  You  won't  cry  so  much 
this  time.  Lois  Moran,  Lowell  Sher- 
man, Louise  Dresser,  Tully  Marshall. 

"Montana  Moon" —  Metro-Goldwyn. 
Horse  opera  with  cowboy  chorus,  jazz 
parties,  modernistic  settings.  High- 
minded  plainsman  marries  a  dancing 
daughter,  and  their  compromises.  Cheap 
play  for  crowd  approval.  Joan  Craw- 
ford, John  Mack  Brown,  Cliff  Edwards, 
Dorothy  Sebastian,  Ricardo  Cortez, 
Benny  Rubin. 

"Girl  Said  No,  The"— Metro-Goldwyn. 
Bill  Haines  in  better  film  than  some 
of  his  past  ones,  with  comic  episode 
with  Marie  Dressier.  The  girl  Haines 
takes  by  storm  pleasantly  played  by 
Leila  Hyams.  Francis  X.  Bushman, 
Jr.,  Polly  Moran.  You  will  be  in  sus- 
pense over  Haines'  antics. 

"Case  of  Sergeant  Grischa,  The"— 
RKO.  A  Russian  peasant  is  ground 
beneath  the  German  war  machine.  Ear- 
nest story  made  unconvincing  by  med- 
ley of  accents,  and  Chester-  Morris  too 
alert  for  doomed  peasant.  Betty  Comp- 
son,  Alec  B.  Francis,  Gustav  von  Seyf- 
fertitz,  Jean  Hersholt. 

"Slightly  Scarlet" — Paramount.  When 
two  jewel  thieves  meet  at  a  safe,  what 
can  you  expect?  Love,  of  course.  Clive 
Brook,  Evelyn  Brent,  the  thieves,  with 
Eugene  Pallette,  Paul  Lukas,  Helen 
Ware,  Henry  Wadsworth,  Yirginia 
Bruce  providing  good  acting  that  saves 
trite  story. 

"Road  House  Nights" — Paramount. 
Interesting  story  of  bootlegging  pro- 
prietor of  road  house,  introducing  Clay- 
ton, Jackson,  and  Durante,  famous 
night-club  entertainers.  Charles  Rug- 
glcs  clever,  and  Helen  Morgan  her  own 
unique  self.  Fred  Kohler  a  striking 
\  illain. 

"Such    Men    Are     Dangerous" — Fox. 


Elinor  Glyn's  brain  child  filmed,  show- 
ing effect  of  plastic  surgery  on  a  man's 
face,  voice,  and  general  appeal.  Com- 
plicated supertriangle  plot,  with  millions 
and  spurned  love.  Warner  Baxter, 
Catherine  Dale  Owen,  Albert  Conti, 
Hedda  Hopper. 

"Lady  To  Love,  A"— Metro-Goldwyn. 
Vilma  Hanky's  first  all-talking  effort  is 
admirable.  A  grape  grower  picks  a 
waitress  for  his  wife,  sends  her  a  young 
man's  photo  as  his  own,  and  things  hap- 
pen. Edward  G.  Robinson  brilliant, 
Robert  Ames  satisfactory  as  young  man. 

"Puttin'  On  the  Ritz"— United  Art- 
ists. Technicolor  sequence.  Story  of 
vaudeville  singer  who  makes  good  as 
night-club  proprietor.  Some  clever 
staging,  routine  story  of  man  who 
atones  for  sins  by  alcoholic  blindness. 
Joan  Bennett,  Lilyan  Tashman,  Aileen 
Pringle,  James  Gleason  steal  show  from 
nominal  star,  Harry   Richman. 

"Son  of  the  Gods" — First  National. 
Well-directed  story,  with  Richard  Bar- 
thelmess  as  foster  son  of  Chinaman, 
believed  Chinese  himself.  Society 
woman — everybody  meets  the  Four 
Hundred  in  films — horsewhips  him  and 
then  loves  him.  Then  he  turns  out  to 
be  white.  Constance  Bennett,  Frank 
Albertson. 

"Lummox" — United  Artists.  Wini- 
fred Westover's  touching  portrayal  of 
a  kitchen  drudge's  lifelong  fight  for  vir- 
tue, with  one  error,  one  betrayal,  and 
finally  a  cozy  haven.  Big  cast,  all  do- 
ing well.  Dorothy  Janis,  Ben  Lyon, 
William  Collier,  Jr.,  Edna  Murphy,  Sid- 
ney Franklin. 

"Love      Parade,     The" — Paramount. 
Dialogue,   singing.     Technicolor.     Mau- 
rice   Chevalier's    second    film,    story    of 
long-drawn-out  duel  of  the  sexes,  a  ro- 
mance in  song.     Music  not  quite  haunt- 
ing, but  bright   touches   in  narrative,  in 
spite  of  much  repetition  of  main  note  in 
love    scale.      Jeanette    MacDonald,    Lu- 
pino  Lane,  Lillian  Roth. 
5aV^ 
RECOMMENDED— WITH 
RESERVATIONS. 

"Redemption" — Metro-Goldwyn.  Tol- 
stoi's "Living  Corpse,"  without  philoso- 
phy and  analysis  of  character,  is  thin 
remnant,  not  compensated  by  John  Gil- 
bert's acting.  Hero  falls  in  love  with 
fiancee  of  friend,  marries  her,  later  pre- 
tends suicide  so  wife  can  marry  his 
friend.  Eleanor  Boardman,  Renee 
Adoree. 

"Ship  from  Shanghai,  The"— Metro- 
Goldwyn.  It  carries  a  cargo  of  ranting. 
Steward  gains  control  of  ship,  starves 
the  men,  "leers"  at  the  leading  lady. 
Just  before  the  great  sacrifice,  heroine 
cries,  "You're  mad!"  and  the  poor  nut 
leaps  overboard  to  death,  and  the  girl 
is  saved  from  a  "fate  worse  than  death." 
Kay  Johnson,  Louis  Wolheimi,  Conrad 
Nagel,  Carmel  Myers. 

"Captain    of    the    Guard" — Universal. 

Bombastic  and  dull,  yet  pretentious 
story  of  French  Revolution.  Laura  La 
Plante  as  leader  of  rebel  group.  John 
Boles  pleasing  singer  but  inadequate 
actor.  One  big  scene  not  enough  to 
lift  childish  operetta. 

"Alias  French  Gertie"— RKO.  Mod- 
est,  dull  crook  melodrama  in  which 
Bebe  Daniels  is  a  safe  robber  posing 
as   a    maid.      Ben    Lyon    makes    up    for 


110 


irmance  in  "Lummox."     Credit 
nuance  by  Miss  Daniels. 

"Cock  o'  the  Walk"—  Sono-Art. 
tor:  gone  wn  pic- 

tures   ol    decade    ago.      Han    lives    on 
money   wheedled   from   women.     Over- 
done   drama  hildkraol 
rare      chance      to      display      affi 
Myrna  Loy  appealing.     Curious  Urn. 

"Lilies  of  the  Field"— First  National. 
Corinne   Griffith  docs  a   tap  dance  on   a 

.1  joins  a  rowdy  show  ai: 
divorce    on    fraudulent    grounds.      Only 
sting.     John    Loder,   Ra!ph 
Forbes,    Freeman    Wood. 

"Lord    Byron   of   Broadway" — M 
Goldwyn.     Technicolor  sequences.     In- 
different   picture    that   may    have   had   a 
idea    at    the    start.       Philandering 
writer  played  by  Charles   tCal 


newcomer.     M  Shilling  refreshing 

appear. nice.       l-'.tlu'  iul     lYiry,    Cliff 

Edwards,  Bennj   Rubin,  the  latter  funny 
at  times. 

"Cameo     Kirby"  —  i 
rambler     picture     that     echoes     "Show 
Boat."      Trite   Btorj    about   a   plantation 

lost     at     cards,     the     lovely    daughter    of 
the     colonel,     ami     gallant     card     sharp. 

ia     Tcrris,      |.     Harold      Hurray, 
Douglas  Gilmore,  Myrna  Loy,  Chs 

Morton,    Robert    Kdoon. 

"No,    No.    Nanette"—  Firs!     National 

All      dialo.  ue.         Technicolor      sequence. 

Mildly  amusing  old-fashioned  farce  that 

i     mii--ie.il     at     the     t'msh.       Expo 
of    Bible   publisher's   innocuous    love   lite. 

cander  Gray,  Bernice  Claire,  Lilyan 
Tashman,  Louise   Fazenda,  Lucien  Lit- 

tletield.    Zasu    Pitts,    Bert    Roach. 


Information,  Please 

tinned  from  page   102 


Miss  Waterbiry. — I'm   sorry   I  haven't 
e  information  you  wish 
about  some  of  your  favoriti  iidcr 

Gra>  i  in  Wrightsville,   Pennsyl- 

vania,    about     thirty  Edna 

hy    peeped   out   on    New    York. 
er   17.   1905;  .lack  Mulhall  began  life 
in    Wappingers    Falls,    New    York,    Octo- 
ber 7  Fred   Mackaye  was   born  in 
New      Jersey — date      un- 
-t    to    m< 
'>orn  in  Brooklyn,  in  1901.  but  doesn't 
whether  in  summer  or  winter. 

Hario    Isohara. — I'm    really    delighted 
to  get  a  letter   from  Japan.     It  just    . 

>w  that  it  isn't  all  a  waste  of  time, 
my   answering   questions.      Barry   Norton, 
after  months  of  idleness,  ha- 
for    Spani-h  American    pic- 

.  but  I  don't  know  in  what  he  will 
be  seen  next.  Write  him  at  the  Para- 
mount studio,  address  at  the  end  of  The 
Oracle.  Larry  Kent  has  not  been  work- 
ing much   lately,  but  he   is   no.-. 


:nd    the    Corner,"    for    Columbia. 

As  he  is  not  under  contract,  I  don't  know 

st  your  writing  him,  unle-s 

d,  California.  U.  S.  A.."  would 

reach    him.      That    address    reaches    most 

Ufa  studio  is  located  at  Neubabels- 

Bcrlin,    Germany.      And    you    don't 

need    to    apologize  r    very    c 

lent  English. 

M.    Hall. — Arline    Sandberg,    who    has 
e   of   a    fan   club 
it  3439  Fulton  Road.  Cleveland 
Leatrice    has    beet  in    vaudeville 

I  don't  know  just  v 
:r    writincr    her.      But    Hol- 
rnia,  would   probably   reach 

Me.     Mysf.lf.     axd     I. — Tho-e     triplets 
again!       In    "Halfway    to    Heaven,"    the 

at    who    fell    to  death    in    the   b 
ninp  in    the   cast — that 

only     a     bit,     of     cour 
brother,    in    "The    Girl     Sa 

im   Janncy.     In   ' 
that  in.  Spud,  whom    • 

' 
been  making  j  -which  1- 

Pict  has  no  r 

pub! 

in     "The     I-ast     Dance" 
T)lx    is    mrtkl- 

still    making    film*. — 
The    Pa 

ut  whether  he 
played    in    the    Tournamcr.' 


to    know 


don't    know.      Am    I    supposed 
every   u.mie  he  played  in? 

Cowboy    Vic. — Somehow,    the    idea    of 
sending  you  a  letter  in  the  mail  addn 

owboy  Vic"  is  just  too  much  for  thi-. 
old  dignity.  Anita  l'..^e  has  two  clubs ; 
the  one  nearest  you  is  under  the  wing  of 
Miss  Kay  Witmer,  39  South  Summit 
•.  llarrisburg,  Pennsylvania.  Anita 
Pomares,  now  Anita  Page,  was  born  in 
Flushing,  Long  Island,  August  4,  1910, 
and  is  still  single  She  gives  her  height 
as  five  feet  three — and  causes  much  dis- 
pute.    Her  weight  is   118. 

Just   Blovhik. — If   I   laughed   at  every 

fan  who  has  a  crush  on  a  star  and  then 
tells  me  about  it,  I'd  laugh  myself  to 
death.       Carl     Mud  wise     Charles 

Morton — was  hern   in   1906.      Hi 
tall.     He   married    Lola    Medona    in    1927. 
If  Charles  Parrell  and  Janet  Gay  nor  were 

■  •  tell  me  a 
it.     Charles  is  a  bachelor  of  twenty-eight; 
he's    six    feet    two,    with    brown    hair    and 
Only    a     few    -tars    read     fan 
nally — John  Holes  reads  a  lot  of  his. 

A  Confirmkd  Reader  ok  Pirn  re  Play. 
— And    a    good    habit    to   be   Confirmed   in, 
is  what  I  say !     Yes,  Rudy  Yallee's  mar- 
nia  McCoy  was  ami 

Rudv    has    not    remarried.      Wl 


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SURELYYOUCANWINONEOFTHEM 

If  ycu've  never    /on  before,  here's  your  chance:  Porp  U»? 

awarded  lar^c  cash    ni  t  lo  get   publicity  in  new  communitica, 

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nt  pobhrttjr  in  eeeeral  mnanannittf 

for  youraelf  how  ea.y  it  ia  to  be  '. 

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aoma  all  white.     Each  firl  haa  a  name 

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twina.  you  will  ba   oual  I 
may  rerwire  prise  or  raah     iHipneat 
No  mora  puulea.  No  obligation.  Hand  I 

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1  nine  otbere  now  ran  earh  get 
Chevrolet  Badana.  Yoa  c  ji  ewe       <V/Zn\ 
ky  onaa.   Yna  .  .ay  have  thought  '   XU1    \ 

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n't  leaw  your  rhan^- 


St..Ch, 


120 

be  makes  more  films  will  doubtless  de- 
pend (in  the  financial  return-  of  his  "Vag- 
afoond  Lover."  Alexander  Gray  is  in  his 
early  thirties  and  is  a  widower. 

Fhenchy  Fanny.— So  you  want  your 
curiosity  satisfied,  do  you?  Just  cutting 
out  my  life's  work  for  me,  that's  all! 
And  1  thought  I  had  said  over  and  over 
that  almost  none  of  the  screen  stars  makes 
a  home  address  public.  They  all  move 
every  two  months  in  Hollywood,  anyhow, 
Gary   Cooper    was    born    May    7,    1901. 

Dilys  Owen.— Go  on,  hurl  bouquets  of 
all  shapes  and  sizes  at  me,  as  you  say, 
and  in  my  old  age  I  can  retire  into  a 
flower  garden.  In  "Cobra,"  Valentino's 
chief  supporting  players  were  Nita  Naldi, 
Casson  Ferguson,  and  Gertrude  Olmsted. 
Wanda  Ilawley  played  opposite  Rudy,  in 
"The  Young  Rajah,"  with  Charles  Ogle, 
Fanny  Midgeley,  and  Robert  Ober  promi- 
nent in  the  cast  also.  Pendleton,  in  "For 
Love  of  Mike,"  was  played  by  Skeets 
Gallagher.  Aileen  Pringle  was  leading 
lady  in  "The  Great  Deception."  In  "The 
Night  of  Love,"  Davie  Beatrix  was  played 
by  Natalie  Kingston.  Lars  Hansen,  I 
fear,  has  concluded  bis  American  movie 
career.  He  went  home  in  great  disgust 
at  the  kind  of  roles  he  had  been  obliged 
to  play.  Richard  Walling  is  the  son  of 
William  Walling,  character  actor.  He 
was  formerly  a  camera  man  who  was 
given  a  chance  in  films  and  made  good, 
although  he  hasn't  done  much  lately. 

Bee.— There,  there,  Bee,  don't  be  so  im- 
patient. May  Picture  Play  was  already 
on  the  presses  when  your  letter  was  writ- 
ten, so  how  could  I  publish  your  answers 
in  that  issue?  Chester  Morris  is  twenty- 
eight  years  old  and  married.  Janet  Gay- 
nor's  husband,  Lydell  Peck,  might  be  a 
little  annoyed  at  your  suggestion  that 
Janet  and  Charlie  Farrell  are  in  love  with 
each  other.  Janet  is  twenty-three.  Buddy 
Rogers  is  still  single.  And  Alice  White 
began  life  as  a  blonde — though  I  should 
hardly  call  her  a  natural  blonde,  at  that! 

H.  F. — The  picture  you  describe,  in 
which  you  think  Rod  La  Rocque  played, 
sounds  like  a  slightly  inaccurate  descrip- 
tion of  "Resurrection."     Is  that  the  one? 


Information,  Please 

Dolores  del  Rio  was  the  heroine.  Dolores 
is  25  years  old.  Lupe  Velez  was  first 
starred  about  a  year  ago.     She  is  21. 

Kit  and  Kat. — I  hope  you  pay  up  your 
bets,  because  you  lose!  Unless  you  crawl 
out  by  a  technicality.  Joan  Crawford  is 
not  five  years  older  than  Doug,  Jr.,  but 
she  is  four  and  two  thirds  years  older. 
She  was  born  March  23.  1906,  and  Doug, 
Jr.,  was  born  December  9,  1910.  In  "The 
Forward  Pass,"  Ed  was  played  by  Allen 
Lane.  Elliott  Nugent  was  born  in  Dover, 
Ohio,  September  20,  1901.  He  is  about 
six  feet  tall.  Stanley  Smith  was  born 
January  6,  1907.  I  don't  know  who  Rob- 
ert Montgomery's  girl  friend  is,  if  any. 

Mrs.  R.  W.  McKay.— The  birthdays 
you  ask  for — if  the  players  give  them — 
are  as  follows :  Carol  Lombard,  Octo- 
ber 6th;  Natalie  Kingston,  May  19th; 
Lilyan  f  ashman,  October  23rd;  none  of 
them  gives  tl-e  year. 

Charmaine. — You  needn't  apologize  in 
this  department  for  being  inquisitive.  If 
no  one  were,  where  would  I  be?  Renee 
Adoree  was  born  in  Lille,  France,  Sep- 
tember 1,  about  1901 ;  Jean  Arthur,  Platts- 
burg,  New  York,  October  17th;  Eleanor 
Boardman,  Philadelphia,  August  19,  1899; 
Evelyn  Brent,  Tampa,  Florida,  1899 ;  John 
Miljan,  Lead  City,  South  Dakota,  No- 
vember 9th ;  Roland  Drew,  Elmhurst, 
Long  Island,  about  1901 ;  Douglas  Fair- 
banks, Denver,  May  23,  1883 ;  Gilbert  Ro- 
land, Juarez,  Mexico,  December  11,  1905; 
Lilyan  Tashman,  New  York  City.  John 
Miljan  is  married  to  Victoria  Hale. 

Miss  B.  E. — Probably  the  reason  you 
have  never  seen  answers  to  your  ques- 
tions is  that  you  failed  to  allow  time.  It 
takes  at  least  three  months  for  an  answer 
to  appear  in  print.  Also,  the  questions 
you  ask  are  vague.  I  don't  know  of  any 
film  called  "The  Passing  Show." 

A.  F. — If  my  department  is  an  "infor- 
mation counter,"  does  that  make  me  a 
"counter  jumper,"  as  the  slang  expression 
goes?  I'm  sorry  to  report  that  I  don't 
know  of  any  stars  with  birthdays  on 
November  3rd.  Don  Alvarado  comes 
nearest,   with  a  birthday  on  the  4th. 


Dulce  Hamlet.— Whoever  starts  all 
these  dreadful  rumors  about  stars  must 
be  my  secret  enemy,  trying  to  make  me 
work.  As  to  Clara  Bow  being  found  dead 
in  the  Thames  River— I  doubt  if  she  ever 
saw  the  Thames.  And  if  Buddy  Rogers 
and  Dick  Arlen  had  been  killed  in  a  mo- 
tor accident — plus  Clara  Bow's  drowning 
— you  can  bet  it  wouldn't  be  a  rumor. 
There'd  be  headlines  an  inch  high  in  the 
newspapers.  Ramon  Novarro  was  born 
in  Durango,  Mexico,  February  6,  1899. 
He  has  black  hair  and  eyes  and  gives  his 
height  as  five  feet  ten.  He  can  be  reached 
at  the  Metro-Goldwyn  studio,  Hollywood. 
I  do  not  know  his  home  address.  Techni- 
color films  are  taken  on  panchromatic 
film,  for  which  players  must  use  a  spe- 
cial kind  of  make-up. 

Joseph  Sullo,  Jr.— I'd  be  glad  to  in- 
clude your  fan  club  in  my  list,  except  that 
you  give  me  no  address.    Write  again. 

Forty  Arlen  Fans. — Yes,  it  is  true  that 
Dick  was  in  an  automobile  accident,  but 
evidently  his  injuries  were  not  serious,  as 
he  returns  to  work  in  "The  Sea  God." 

Bill  Boyd  Forever. — Nobody  can  last 
that  long,  not  even  Bill  Boyd.  He  has 
made  "Crashing  Through"  and  "Painted 
Desert"  since  "Officer  O'Brien,"  but  he 
doesn't  seem  to  be  as  active  lately  in  films 
as  his  admirers  would  like.  I  don't  know 
Bill,  but  those  who  do,  consider  him  a 
nice  fellah. 

Sly  Miss. — How's  my  rheumatism! 
With  so  many  letters  around,  who's  got 
room  for  rheumatism!  Aren't  you  a  bit 
late  getting  all  steamed  up  over  Edmund 
Burns?  He's  played  in  only  about  three 
films  in  the  past  year — "Hard  to  Get," 
"Tanned  Legs,"  and  "After  the  Fog." 
Eddie  was  born  in  Philadelphia,  Septem- 
ber 27,  1892.  He  is  six  feet  two,  weighs 
170,  and  has  black  hair  and  blue  eyes.  I 
never  heard  of  a  Mrs.  Burns. 

Mrs.  D.  E.  Kline. — I'm  glad  to  see 
Leatrice  Joy  still  has  her  public.  She's  a 
charming  woman.  Leatrice  was  born  in 
New  Orleans  in  1897,  so  is,  of  course, 
American.  Her  real  name  is  Leatrice  Joy 
Zeigler.  Leatrice  has  black  hair,  brown 
eyes,  is  five  feet  three,  and  weighs  125. 


Addresses  of  Placers 


Richard  Arli>n,  Mary  Brian,  Neil  Hamilton, 
Warner  Oland,  Ruth  Chatterton,  Florence 
Vldor,  Clara  Row,  CUve  Brook,  Charles 
("Buddy")  Rogers,  Gary  Cooper.  James  Hall, 
Wil!i;im  Powell,  Nancy  Carroll,  Jean  Arthur, 
Jack  Oakle,  Kay  Francis,  David  Newell,  Fred- 
ric  .March.  Jeanelte  MacDonald,  Lillian  Roth, 
Richard  Gallagher,  Mitzi  Green,  Harry  Green, 
at  Paramount    Studio,  Hollywood,  California. 

Greta  Garbo,  Leila  Hyams,  Bessie  Love, 
Ed  ward  Nugent,  Gwen  Lee,  Ramon  Novarro, 
Norma  Shearer,  John  Gillierf,  William 
Haines,  Lon  Chancy,  Renee  Adoree,  Marion 
Davies,  Robert  Montgomery,  Ray  Johnson, 
Karl  Dane,  Dorothy  Sebastian,  Lionel  Barry- 
more,  Charles  King,  Raymond  Hackett,  Wal- 
lace   Beery,     Raque]     Torres,     .lonti     Crawford, 

Nils  Aether,  Conrad  Nagel,  Josephine  Dunn, 
Anita  Page,  Buster  Kenton,  John  Mack 
Brown,  Lewis  Stone,  at  the  Metro-Goldwvn 
Studio,  Culver   City,   California. 

Vilma  Banky,  Ronald  Colman,  Douglas 
Fairbanks,  Mary  Plckford,  Norma  Talmadge, 
Chester  Morris,  Gilbert  Roland,  Don  Alva- 
rado,  Joan  Bennett,  Dolores  del  Rio,  and 
Moria  Rico  at  the  United  Artists  Studio,  7100 
Santa  Monica  Boulevard,  Los  Angeles,  Cali- 
fornia. 

Colleen  Moore.  Jack  Mulhall,  Alexander 
Gray.     I'.ernlee    Claire,     Rjllle     Dove,    Richard 

Barthelmesa,  Dorothy  Mackalll,  Corinne 
Griffith.  Alice  White,  Inn  Keith,  and  Douglas 
Fairbanks,  Jr..  at  the  First  National  Studio, 
Burbank,   California. 

Lupe  Veles,  Mary  Nolan,  Merna  Kennedy, 
Hoot  Gibson,  Laura  La  I'lante,  Barbara  Kent, 
Glenn  Try  on,   Ken   Maynard,  Joseph   Schlld- 


kraut.  at  the  Universal  Studio,  Universal 
City,  California. 

William  Boyd,  Robert  Armstrong,  Alan 
Hale,  Jeanette  Loff,  Carol  Lombard,  Ann 
Harding,  Helen  Twelvetrees,  and  Russell 
Gleason.  at  the  Pathe!  Studio,  Culver  City. 
California. 

George  O'Brien,  Edmund  Lowe,  Earle  Foxe, 
Janet  Gaynor,  Kenneth  MacKenna,  Dixie  Lee, 
Mona  Maris,  Fifi  Dorsay,  Charles  Farrell, 
Victor  MacLaglen,  Lois  Moran,  Frank  Al- 
bertson,  Farrell  MacDonald,  Marguerite 
Churchill,  Paul  Muni,  Lola  Lane,  Paul  Page, 
Louise  Dresser,  David  Rollins,  Sue  Carol, 
Warner  Baxter,  Sharon  Lynn,  and  Mary 
Duncan,  at  the  Fox  Studio,  Western  Avenue, 
Hollywood,  California. 

Edna  Murphy,  John  Barrymore,  Al  Jolson, 
at  the  Warner  Studios.  Sunset  and  Bronson, 
Los  Angeles,  California. 

Sally  I'.lane.  Hugh  Trevor,  Bebe  Daniels, 
Bettv  Compson.  Olive  Borden,  and  Richard 
Dix,  at  the  RKO  Studio,  780  Gower  Street, 
Hollywood.  California. 

Allene  Ray,  6912  Hollywood  Boulevard, 
Hollywood,  California. 

Robert  Frazer.  6356  La  Mirada  Avenue, 
Los   Angeles,    California. 

Patsy  Ruth  Miller,  808  Crescent  Drive, 
Beverly  Hills,  California. 

Robert  Agnew,  8857  La  Mirada  Avenue, 
Hollywood,   California. 

Dorothy  Revier,  1307  North  Wilton  Place, 
Los   Angeles.   California. 

Julanne  Johnston.  Garden  Court  Apart- 
ments. Hollywood.  California. 

Malcolm  McGregor,  0043  Selma  Avenue, 
Hollywood,    California. 


Jackie  Coogan,  673  South  Oxford  Avenue, 
Los  Angeles,  California. 

Ivor  Novello,  11  Aldwych,  London,  W.  C.  2, 
England. 

Harold  Lloyd,  6640  Santa  Monica  Boule- 
vard, Hollywood,  California. 

Anna  May  Wong,  241  N.  Figueroa  Street, 
Los  Angeles.  California. 

Eileen  Percy,  154  Beechwood  Drive,  Los 
Angeles,  California. 

Herbert  Rawlinson,  1735  Highland  Street, 
Los  Angeles,  California. 

Forrest  Stanley,  604  Crescent  Drive,  Bev- 
erly Hills,  California. 

Gertrude  Astor,  1421  Queen's  Way,  Holly- 
wood, California. 

Lloyd  Hughes,  616  Taft  Building,  Holly- 
wood, California. 

Virginia  Brown  Faire,  1212  Gower  Street, 
Hollywood,  California. 

Johnny  Hines,  Tec-Art  Studio,  5360  Mel- 
rose Avenue,   Hollywood,  California. 

Theodore  von  Eltz,  1722%  Las  Palmas, 
Hollywood,  California. 

William  S.  Hart,  6404  Sunset  Boulevard. 
Hollywood,  California. 

Estelle  Taylor,  5254  Los  Feliz  Boulevard, 
Los  Angeles,  California. 

Pat  O'Malley,  1832  Taft  Avenue,  Los  An- 
geles, California. 

Ruth  Roland,  3828  Wilshire  Boulevard,  Los 
Angeles,  California. 

Gilda  Gray,  22  East  Sixtieth  Street,  New 
York  City. 

Barry  Norton,  855  West  Thirty-fourth 
Street,  Los  Angeles,  California. 

George  Duryea,  5958  Franklin  Avenue, 
Hollywood.   California. 


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V 


Love  Came  Like  A  Thunderbolt 

A  moment  of  mad  impulse  and  the  girl,  no  coquette,  but  the  product  of  a 
refined  environment,  found  herself  at  the  stage  door.  There  was  something 
that  swept  her  into  the  presence  of  handsome  Kent  Randall,  the  leading  man, 
whose  play  was  closing  that  night.  And  no  sooner  had  the  two  looked  into 
each  other's  eyes  than  they  knew  that  here  was  love. 


Milllllllllhirtllllllllll!ir<!IIIHIIUIMIIIII MUIIUIIU 


Then,  of  a  sudden,  came  murder,  with  the  finger  of  suspicion  pointing  at 
Kent.  A  sorry  tangle  of  circumstances  which  keeps  the  reader  on  his  mental 
tiptoes  to  the  very  end.     Such  is  the  story  told  in 

The  Girl  at  the  Stage  Door 

By   BEULAH    POYNTER 

Romance,  adventure,  and  mystery  arc  the  elements  of  this  typical 
CHELSEA  HOUSE  novel,  one  of  a  series  of  enchanting  love  stories  told 
by  masters  of  their  craft  and  offered  to  you  aj  a  surprisingly  low  price.  If 
your  dealer  does  not  carry  a  full  list  of  the  new  CHELSEA  HOUSE  copy- 
rights, write  to 

CHELSEA   HOUSE,    79  Seventh  Avenue,   New    York   City 


Price,    75  Cent* 


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BEBE  DANIELS  in  "DIXIANA"— with  Everett  Marshall,  Metropolitan  Opera 
Wheeler    ond  Woolsey,  Dorothy    Lee,  Joe    Cawthorne  and  Jobyna 


SOME   OF  THE   TECHNICOLOR   PRODUCTIONS 

BRIDE  OF  THE  REGIMENT,  with  Vivienne  Segal  (First  National);  BRIGHT  LIGHTS,  with 
Dorothy  Mackaill  (First  National);  DIXIANA,  with  Bebe  Daniels  (Radio  Pictures);  FOLLOW 
THRU,  with  Charles  Rogers  and  Nancy  Carroll  (Paramount);  GOLDEN  DAWN,  with 
Waller  Woolf  and  Vivienne  Segal  (Warner  Bros.);  HELL'S  ANGELS,  all-star  cast 
(Caddo),  Technicolor  Sequences,-  HOLD  EVERYTHING,  with"  Winnie  Lightner,  Georges 
Carpentier  and  Joe  E.  Brown  (Warner  Bros.);  KING  OF  JAZZ,  starring  Paul  Whiteman 
(Universal);THE  TOAST  OF  THE  LEGION,  with  BerniceClaire,  Walter  Pidgeon  and  Edward 
Everett  Horton  (First  National);  SONG  OF  THE  FLAME,  with  Bernice  Claire  and 
Alexander  Gray  (First  National);  SWEET  KITTY  BELLAIRS,  all-star  cast  (Warner  Bros.); 
THE  FLORADORA  GIRL,  starring  Marion  Davies  (Metro-Goldwyn-Mayer),  Technicolor 
Sequences;  THE  MARCH  OF  TIME,  all-star  cast  (Metro-Goldwyn-Mayer),  Technicolor 
Sequences;   WOMAN    HUNGRY,   with   Sidney   Blackmer   and   Lila    lee   (First  National). 


The 

Most 

Be  a  u  +  iful 

Woman 
in  the  South 

Wouldn't  you  like  to  see  her?  Dix- 
iana,  star  of  Cayetano's  Circus — 
"most  beautiful  woman  in  the 
South!"  Played  by  alluring  Bebe 
Daniels— brought  to  fascinating, 
vivid  life  by  the  modern  miracle 
of  Technicolor.  Technicolor  has 
put  a  light  in  her  eyes  and  a  flush 
on  her  cheek — has  given  new 
warmth  and  meaning  to  her  every 
glance  and  gesture.  All  the  stars 
shine  brighter  in  Technicolor. 


tEAD  THE  BEST-STREET  &  SMITHS  MAGAZINES 


note  S® 


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Buying 
for 

Contentment 


IT  IS  not  uncommon  to  buy  something  that  momentarily 
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for  buying  it.  .  .  . 

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fully— wisely — and  saves  you  from  after-regrets. 

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Knowing  them  before  you  buy — you  are  able  to  judge 
intelligently  your  needs.  Never  are  you  rushed  into  buy- 
ing; into  having  first — and  scolding  afterwards — 

Advertising  gives  you  honest  information  before  you 
buy.  You  have  a  reliable  guide  and  index  to  help  you 
plan  your  purchases  wisely  and  carefully. 

Read  the  advertisements !  You  will  find  that  they  make 
your  money  go  farther — and  that  you  will  be  satisfied 
with  your  purchases  long  after  you  have  bought ! 


■'MONTHLYllllllllllillilllliilllilliilllllllllllillllill!^ 

Picture  Play 

YEARLY  SUBSCRIPTION,  $2.50  SINGLE  COPIES,  25  CENTS 

Volume  XXXIII  CONTENTS    FOR    OCTOBER,    1930  Number  2 

Tlieaiiac  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 

What  the  Fans  Think 8 

Our  readers  have  their  say. 

A  King  in  Overalls 15 

A  photographic  study  of  John  Gilbert,  in  "Way  for  a  Sailor,"  with  Doris  Lloyd. 

While  Talent  Goes  Begging        ....     Samuel  Richard  Mook  .     16 

Some  stars  languish  while   others   skyrocket.     Why? 

The  Smart  Thing  to  Do 20 

Illustrated  by  pictures  of  fashions  in  "On  Your  Back." 

Fifteen  Hats  at  Once Helen  Klumph       .         .     22 

Lillian  Roth  is  the  lucky  girl  who  buys  them. 

Razzberries  for  Our  Hero    .  ...     Carroll  Graham      .         .     24 

Overheard  at  Hollywood  previews. 

Babes  in  Hollywood Inez  Sabastian       .         .     26 

The  second  installment  of  a  great  serial. 

Who's  Afraid? 28 

Neither   snakes,    bullfrogs    nor    horned    toads   daunt    the    stars. 

A  Tintype  Heritage Margaret  Reid       .         .     29 

Walter  Huston  opens  the  family  album. 

Lined  with  Gold 31 

Photographs    of    some    costly    warbling. 

The  Mystery  of  Your  Name        ....     Monica  Andrea  Shenston  32 

The  most   fascinating   department  in  any  magazine. 

Billie — As  She  Is Margaret  Reid       .         .     34 

A  literary  close-up  of   Miss   Dove. 

Favorites  of  the   Fans 35 

Eight   full-page  portraits   in  rotogravure. 

Not  as  Other  Children William  H.  McKegg      .     43 

Maureen  O'Sullivan's  Irish  birth  makes  her  "different." 

Cool  and  Sequestered .44 

Glimpses   of  swimming  pools  you  long  to   try. 

Over  the  Teacups The  Bystander       .         .     46 

Fanny   the    Fan    goes    merrily    on. 

A  Prophet  with  Honor Margaret  Reid        .         .51 

Edward  Everett  Horton  contradicts  the  old  adage. 

La  Fazenda  Tops  the  Waves       ....     Myrtle  Gebhart      .         .     54 

A  remarkable  insight  into  the  life  and  character  of  a  comic  actress. 
Continued  on  the  Second  Page  Following 

Monthly   publication   lamed  by   Streel    ft   Smith  Publications,   Inc..   79-89   Seventh   Avenue,   New  York   City.     Orniond  G.    Smith,   President;  George  C. 

Smith                                    i  Treeeurer;  George  C.   Smith,  Jr.,  Vice  President;  Ormond  V.  Gould.  Secretary.     Copyright,   1930,  by  Street  & 'Smith -Pub- 

i           New   York  Copyright,    19S0,    by    Street    &    Smith    Publications,    Inc.,    Great    Britain.       Entered    as    Second-class    Matter,    March    6, 

1916,   tt  the   Poel    Office  It  Nen    York,    N.    Y.,   under  Act  ol   Congress  of  March  3,    1879.      Canadian  Subscription.    $2.86.     Foreign,    $3.22. 

We    do    not   accept    responsibility    for   the    return    of    unsolicited    manuscripts. 
To   facilitate   handline.   the   author  should    inclose   a   self-addressed   envelope   with   the   requisite   postage   attached. 

STREET   &   SMITH   PUBLICATIONS,   INC.,   79  7th  AVE.,   NEW  YORK,  N.  Y. 

IIIIIIIIIIIIIIIIIIIIIIIIII'IIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIIM 


I 


TODAY   THE    WORLD'S   GREATEST    ENTERTAINMENT 
IS   FOUND   ON  THE  TALKING   SCREEN! 


At  popular  prices  for 
the  whole  family! 

The  biggest  value  vour  money  l>m  b 
today  is  entcrtainmrnt  <>n  the  talk- 
ing, ""g»"g  Bcreenl  You  see  and 
hear  sparkling  musical  hit?.  i_'roat 
playa,  the  work  of  the  most  famous 
writers,  foremost  music  composers. 
A  aried,  colorful,  Btimalatiiig  enter- 
tainment that  pleases  all  tastes  and 
every  number  of  the  family! 

The  i ■•■-■t  i-  BO  low  \o»  shouldn't 
miss  a  single  opportunity  toseeei  en 
Paramount  Picture  that  comes  your 
Today,  a-  for  18  years,  Para- 
ii, "iint  i-  the  greatest  nam.'  in  enter- 
tainment. The  hetter  theatres  play 
Paramount  regularly  and  often  — 
u-<-  the  name  always  a-  your  guide 
t<>  "the  best  shoic  in  town!" 


RICHARD   ARLEN 

in  "The  Law  Rides  West" 


Vith   Ri>-ita    M 

igene  Pallette, 

Mit/i    Green    ami 

Junior  Dnrkm.  All 

action,  all  outdoors 

tnce    -t j. 

•1  Arlen. 

Adapted  frtw 

n  o  \  •  -  :  i  -  h 

■  -"   ll>    II  .  I 

•>•■  led  l>v 

■  Brower  and 

Edwin  Knoj.i. 


* 


The  SpoiLERSr 


an 


"FOLLOW 

THRU" 

CHARLES  ROGERS 
NANCY   CARROLL 


Zelma  O'Neal  and  Jack  Haley.  Paramount's 
all  talking,  all  musical,  all  Technicolor  adap- 
tation of  the  sensational  musical  corned]  sue* 
<<---  that  ran  .">  1  weeks  on  Broadway.  Charles 
and  Nancy  Carroll  in  a  bright,  spar- 
kling -tory  of  youth  an<l  lo\c  ami  golf  with 
catchy  lunc-  an<)  langh*  galore.  On  the  -crccn, 
"Follow  'Ihru'"  ha-  the  -aim-  zi|»  ami  pep,  the 

anne   youthful    exnbenuBee    that    made    the 
stage  prodnction    rach   a    hit.  l!\    D<    Syhra, 

Brown.  II.  i  •!.  t  -on  a n<l  Laurence  Schwab.  I)i- 
rectedbj  J  bwaband  Lloj 

A  SCHWAB  &  MANDEL 
PRODUCTION 


Edicin  Carewe  Production 
with 

Gary  Cooper 

By  REX  BEACH 

Al-o  in  the  cast  are  Kay  Johnson,  Betty 
Conip.-on,  William  Boyd  and  Harry  Green. 
Rex  Beach's  dynamic  drama  of  the  Alaska 
gold  rush  on  the  talking  screen  in  all  its 
strength  and  splendor  1  A  story  of  tore,  hate 
and  conflict  that  you  will  never  forget ! 


TUNE    IN! 

Hear  «rcat  entertainment  and  the  lat- 
est news  of  I'm  amount  Picture*  on  tin- 
air  in  the  Paramount  Publlz  Radio 
Hour,  each  Tuesday  ni«ht,  10  15  to  11 
P.  M  ,  F.astern  Daylight    Saving  'I  ime 

over  the  nation-wide  <  olombia  Broad 

casting  Sj  stem. 


HAH  \MHI  M    111  II  him;,  m  u    yoliK 


Illllillillllllii IlllllllllllllllPlillllliilllllllll 


Men  About  Town 

Only,  my  dears,   they're  girls! 


Contents — Continued 


Driven  to  an  Actor's  Life  .... 

Walter  Pidgeon  is  a  victim  of  circumstances. 

Hollywood  High  Lights       .... 

News  and  gossip  of  the  studio  colony. 

Kid  Sisters 

The  movies  are  full  of  relatives,   if  you   only  knew. 

A  Confidential  Guide  to  Current  Releases  . 

Timely  tips  on  pictures  now  showing. 

The  Screen  in  Review  ..... 

Our  critic  points  the  way  to  new  pictures. 

I  Stop  to  Look  Back    ..... 

Continuing  an  actor's  own  life  story. 

Minnehaha  Diminuendo       .... 

She's   Dorothy  Janis,   a  tiny   Indian   maid. 

The  Boulevard  Directory     .... 

Visiting  a  Hollywood  shop  frequented  by  stars. 

Sauce  for  the  Public 

Exploding    some    publicity    myths. 

Say  It  with  Clothes 

How  stars  express  their  roles  sartorially. 

Information,  Please      ..... 

Authoritative  answers  to  readers'  questions. 


57 

William  H.  McKegg     .     58 
Edwin  &  Elza  Schallert     60 

64 

65 

66 
70 
74 
83 
84 
88 
102 


Norbert  Lusk 
Neil  Hamilton 
Madeline  Glass 
Margaret  Reid 
Elsi  Que 

Willard  Chamberlin 
The  Oracle     . 


L'ffloiiiiiiiiniiiiiidiiiiiiir 


GET    A    LOAD    OF    THIS! 

UPE  VELEZ  says  that  if  she  is  engaged  to  Gary  Cooper,  she 
•— *  wishes  some   one  would  tell  her. 

Norma  Talmadge  says  that  Gilbert  Roland  is  a  charming,  atten- 
tive chap,  but  that  her  husband,  Joseph  M.  Schenck,  is  the  most 
wonderful  of  men,  and  that  she  married  him  because  she  loved  him. 

John  Garrick,  who  gave  such  a  good  account  of  himself  in 
"The  Sky  Hawk"  and  "Song  o'  My  Heart,"  admits  that  he  was  born 
Reginald   Dandy. 

Marlene  Dietrich  says  that  she  doesn't  understand  why  she 
must. not  let  any  one  know  she  has  a  baby,  because,  to  her,  having  a 
baby  is  the  most  romantic   thing  in  the  world. 

Lilyan  Tashman,  in  defining  the  word  "sophisticate"  and  explain- 
ing how  she  became  one,  admits  that  for  years  she  read  every  book 
of  etiquette  that  she  could  find,  because  she  didn't  know  the  proper 
thing  to  do  and  the  right  thing  to  say. 

Janet  Gaynor,  though  content  with  her  husband,  is  destined  to 
have  two  more,  and  she  will  always  have  a  string  of  suitors  pining 
to  touch  her  hand. 

Ginger  Rogers  likes  a  name  with  plenty  of  spice.  She's  Mrs. 
Jack  Pepper. 


;.    i!!<!!:!l>llllllli:!lllllllll|lll!llllllll 


&  i 


Follow  Up  Tkese  Enticing  Clews 

IN  PICTURE  PLAY  for  November  you  will  find  all  these  bits 
*  of  surprising  information  supplemented  by  a  great  deal  more 
about  Lupe  Velez,  Norma  Talmadge,  John  Garrick,  Marlene 
Dietrich,  Lilyan  Tashman,  Janet  Gaynor,  and  Ginger  Rogers,  for 
each  of  them  is  the  subject  of  an  unusual  interview  or  article  by 
Madeline  Glass,  Edwin  Schallert,  William  H.  McKegg,  Margaret 
Reid,  Samuel  Richard  Mook,  and  Monica  Andrea  Shenston,  whose 
reading  of  Janet  Gaynor's  character,  as  well  as  her  past,  present  and 
future,  entirely  from  the  letters  of  her  name,  has  unusual  signifi- 
cance at  this  time.  It  is  something  that  no  Gaynor  fan  can  afford 
to  miss. 

There  is  also  the  third  installment  of  Inez  Sabastian's  novelette 
"Babes  in  Hollywood,"  which  everybody  is  talking  about,  and  count- 
less other  items  to  indicate  to  our  readers  that  PICTURE  PLAY 
continues  to  maintain  its  unflagging  zest  for  what  is  new  and  what 
is  true  in  the  world  of  motion  pictures — a  zest  shared  by  every  one 
who  reads  the  honest  magazine  of  the  screen. 


mi iiiiiiin iiiiiniiiiiiiiii mi I liliiiiliiiiiiiilllllillllliiiiiiiii 


America's    Greatest    Actor 
—As  You  Like  Him! 


WARNER  BROS 
present 


{John 

KARRYMORE 

MOBY  PICK* 


in 


With  JOAN  BENNETT 
Lloyd  Hughes,  and  a  Great  Cast 

FOR  seven  years  on  the  seven 
seas  he  had  sought  the  in- 
human monster  that  had  made 
him  a  man  unfit  to  love. 

Can  he  win  revenge  against  this 
awful  enemy — or  will  he  perish 
in  the  giant  maw  that  has  been 
the  graveyard  of  a  hundred  men 
before  him? 

Will  he  ever  return  to  his  home 
to  learn  that  the  love  he  thought 
dead  is  still  waiting? 

These  are  the  questions  that  have  held 
hundreds  of  thousands  spellbound 
through  the  pages  of  Herman  Melville  s 
immortal  classic,  "MOBY  DICK". 

They  are  merely  hints  of  the  throbbing 
thrillsthatmake"MobyDick"JohnBarry- 
more's  most  glorious  talking  picture!  See 
it  soon,  at  leading  theatres  everywhere. 


Adopted  by  J.  Grubb  Alexander. 
Directed  by  Uoyd  Bacon.  "Vila- 
phone"  is  the  registered  trademark 
of     The     Vitaphone     Corporation. 


t   , 


A  WARNER  BROS. Sr  VITAPHONE  PICTURE 


What  tke  Fans  Think 


Have  a  Heart,  Emma! 

I  AM  fed  up  with  all  the  hero  worship  shown  in  the 
fan  letters,  for  I  live  in  Hollywood — which  explains 
a  lot.  Also  the  letter  written  by  Louise  Bryan  Buck- 
holz  telling  about  publishing  her  experiences  is,  to  me,  a 
joke.  I  know  too  many  who  have  tried  to  get  the  truth 
to  the  public — and  failed. 

I've  worked  with  the  stars  and  for  the  stars,  so  I 
know  my  Hollywood.  Letters  the  fans  write  are  written 
with  the  best  of  intentions  and  with  real  sincerity  back 
of  them,  and  it  is  a  crime  the  way  they  are  talked  about 
and  treated.  Some  are  dumped  into  the  incinerator  with- 
out even  being  opened.  Some  of  the  players  open  them 
hoping  there  might  be  money  in  them,  and  some  con- 
descend to  answer  those  which  contain  money.  Very 
few  look  at  their  mail,  leaving  it  all  to  secretaries. 

As  for  the  players,  once  in  a  coon's  age  we  find  one 
who  is  different,  but  on  a  whole  they  are  all  alike — 
selfish  to  the  core.  As  long  as  they  believe  you  can 
be  of  service  to  them,  they  will  be  lovely  to  you,  provid- 
ing you  always  agree  with  them. 

One  female  star  I  know  is  noted  for  her  kindness  and 
generosity  through  good  press  work,  yet  she  refuses  even 
to  see  her  old  friends.  I  can  name  many  more,  but  I 
simply  quote  this  as  an  example. 

Another,  a  male  star,  is  a  bachelor  with  ten  years  of 
screen  work  to  his  credit.  This  man  thinks  that  every 
one  adores  him  for  his  good  fellowship  and  generosity. 
While  in  reality  this,  too,  is  all  due  to  a  good  press  agent. 
The  man  is  all  bluff,  a  coward  at  heart,  simply  afraid  of 
what  people  might  say  and  thereby  incurring  the  con- 
tempt which  he  would  wish  to  avoid.  His  good  deeds 
are  performed  by  a  secretary. 

I  read  about  the  stars  leading  normal  lives.  Normal? 
Good  heavens ! 

They  act  off  screen  as  well  as  on  screen,  and  the 
larger  the  audience  the  more  important  they  act,  and 
the  more  they  clown  or  pose  as  the  good  fellow. 

The  players  complain  about  the  fickleness  of  the  fans. 
The  most  fickle  people  in  the  world  are  the  players 
themselves.  They  are  your  friends  to-day — and  do  not 
even  know  you  to-morrow. 

yes,  Mrs.  Buckholz,  come  to  Hollywood,  and  be  dis- 
illusioned for  life — and  just  try  to  get  the  truth  printed. 
It  cannot  be  done.  Every  writer  who  came  here  in  the 
last  ten  years  has  tried — and  failed.         Emma  Smith. 

1  tollywood,   California. 


Little  Chats  with  Stars. 

I  have  at  last  recovered  from  the  shock  of  learning 
that  some  of  the  players  do  read  these  effusions,  so  I 
am  taking  the  opportunity  of  saving  a  few  postage 
stamps  and  at  the  same  time  sending  my  messages  to  the 
actors.     Throwing  two  stones  at  one  bird,  you  know ! 

Ramon  Novarro :  Ramon,  will  you  please  da  me  a 
favor?  I  want  you  to  do  something  frightfully  wicked, 
such  as  saying  "No !"  to  a  supervisor,  or  eloping  with 
another  actor's  wife.  You  don't  know  of  an  actor's  wife 
with  whom  you  would  care  to  elope?  Dear  me,  haven't 
you  seen  M'sieur  Chevalier's?  Why  should  you  do 
this?  Well,  I  want  you  to  bring  some'  of  your  fans 
down  to  earth  again.  Some  time  ago  I  was  grinding 
my  teeth  because  of  the  way  some  fans  cast  slurs  upon 
you,  but  now  I  am  feeling  the  same  way  about  some  of 
your  admirers.  The  way  they  rave  about  you  is  posi- 
tively sickening.  Why,  they  even  talk  about  your  soul ! 
Doesn't  that  make  you  squirm?  You  are  not  a  saint, 
are  you,  Ramon?  No,  you  are  just  a  man — a  lot  better 
than  most,  maybe,  but  you  are  still  human,  aren't  you? 
Oh,  I  remember  quite  well  how  you  looked  in  "Ben- 
Hur"  when  you  were  face  to  face  with  Christ,  but  I  also 
remember  a  naughty  twinkle  in  your  eyes  on  other 
occasions,  and  if  saints  look  like  that,  well,  I'm  a  pink 
elephant !  Ramon,  I  admire  you,  and  I'm  bursting  with 
excitement  at  the  prospect  of  hearing  you  sing  for  the 
first  time,  but  I'm  hanged  if  I'll  join  those  fans  who  wor- 
ship you.  Please  do  something  to  bring  them  to  their 
senses,  even  if  it  is  only  making  a  "long  nose"  at  your 
leading  lady ! 

Beryl  Mercer:  I  went  to  see  "Three  Live  Ghosts" 
because  of  two  other  players  in  it,  but  I  came  away  an 
ardent  Mercer  fan.  I  have  read  that  actors  and  actresses 
welcome  criticism,  and  I'd  like  to  oblige  you,  but  what 
can  I  do  when  I  didn't  notice  anything  wrong?  The  way 
you  echoed  "Trying?"  when  the  detective  asked  if  you 
were  trying  to  make  a  fool  of  him,  the  way  you  sounded 
the  aitch  in  "honor,"  the  way  you  tried  to  hang  on  to 
the  jewels,  and,  best  of  all,  the  way  you'  eagerly  fol- 
lowed the  liquid  refreshment — all  were  perfect.  You 
spoke  easily  and  naturally,  yet  every  word  came  clearly 
to  me.  Oh,  you  were  great,  Miss  Mercer ;  I  can  hardly 
wait  to  see  "Seven  Days'  Leave." 

Charles  Farrell :  Charlie,  what  on  earth  has  come  over 
you?  When  I  saw  you  in  your  last  silent  picture,  "The 
Continued  on  page  10 


Woman's  love  ...  mans  hate  ...  blazing  romance 
in  a  city  aflame  with  carnival  pleasures! 


w 

fh  In  staggering  magnificence  ...  in 
2  thundering  emotions  comes  "DIXIANA"  to  hold 
the  world  spellbound!  ALL  THAT  IS  LIFE  HAS 
BEEN  ENGULFED  IN  THIS  AMAZING  PRODUC- 
TION! Romance  .  .  .  Fiery  Drama  .  .  .  Bouncing 
Comedy  .  ..  Revelry.  .  .  Stupendous  Spectacle! 
The  story  of  Two  Men  .  .  .  and  a  Woman  who 
yV  set  men's  hearts  aflame  .  .  .  amid  the  Mad 
Abandon  and   Fevered  Passions  of   Mardi   Gras! 


BEBE     DANIELS 

Glamorous    star    of    song  and    great  emotions. 

EVERETT   MARSHALL 

Famous  star  of  Metropolitan    Opera  Company. 

BE  RT    WHE  E  LE  R 

AND 

ROBERT  WOOLSEY 

DOROTHY    LEE 

JOSEPH    CAWTHORN 

RALF    HAROLDE 

JOBYNA    HOWLAND    and 

BILL    ROBINSON 

,  (World's  Greatest  Tap  Dancer) 

Music  by  Harry  Tlerney,  Book  by  Anne  Caldwell 
■-■•-    v>     Directed  by  LUTHER  REED  .  .  .  Supervised    by 
WM.     LE     BARON 

N    GLORIOUS   TECHNICOLOR 


—  >  *§T 


TUNE     IN      EVERY 

TUESDAY 
EVENING 

and 

THURSDAY 
AFTERNOON 

for  the  great 

RKO    HOUR 

over  N. B.C.  Network 

Famou*  »t»r»  .  .  favorit* 

•  nt*rtain*r»,       n«w*     of 

Hollywood     and    coming 

production*. 


COMING  WITH  A  RUSH  !  AMOS  'N'  ANDY 
in  their  first  talking  picture,  Edna  Ferber's 
"CIMARRON",  John  Galsworthy's  "ESCAPE", 
"BABES  IN  TOYLAND",  "LEATHER  NECKING" 
and  "HALF  SHOT  AT  SUNRISE"  with  Bert 
Wheeler  and  Robert  Woolsey  .  .  .  not  to 
mention  a  grand  and  gorgeous  galaxy  of 
other  great  attractions  in  THE  NEW 
PAGEANT  OF  THE  TITANS! 

RKO  DISTRIBUTING  CORPORATION 

(Subsidiary   of   Radio   Corp.   of   America) 

1560     BROADWAY,    NEW     YORK     CITY 


PU.M-KIS 

w 


10 

Continued  from  page  8 
River,"  1  thought  you  gave  the  best  per- 
formance of  your  career  and  I  vowed  I 
would  be  faithful  forever,  but  when  1 
saw  you  in  "Sunny  Side  Up"  I  was  dis- 
appointed.  You  were  supposed  to  be  in 
society.  1  think  I  am  ri.yht  in  saying  that 
people  in  society  usually  have  poise,  it 
nothing  else,  yet  you  acted  bashful,  awk- 
ward, and  kiddish.  Hut  that  wasn't  the 
Worst.  You  would  persist  in  singing 
and,  well,  I'm  trying  to  blame  the  result 
upon  defective  apparatus  at  the  local  the- 
ater, but  1  can't  close  my  eyes  to  the  fact 
that  critics  in  London  made  rude  remarks 
about  it,  too.  Oh,  I  still  like  you,  but  if 
you  don't  cut  out  singing,  well,  I  shall 
just  shrug  my  shoulders  and  go  to  hear 
John   Holes    instead. 

Bert  H.  King. 
36  Court  Street,  Woodville, 

Near    Burton-on-Trent,    England. 

Children  Will  Argue. 

And  she  still  remains  the  best  bet  on 
the  talkie  screen  to-day.  Newer  stars 
may  appear  every  day,  but  none  can  yet 
compare  with  Ruth  Chatterton.  Each  pic- 
ture in  which  she  appears  is  a  master- 
piece. The  story  may  be  trite  and  point- 
less, as  witness  "Sarah  and  Son,"  but 
with  Ruth  Chatterton  taking  the  leading 
part,  one  forgets  the  plot  and  revels  only 
in  the  fact  that  here  is  an  actress  who 
can  really  act.  Her  voice  is  marvelous. 
I  defy  any  one  to  cite  any  other  voice  as 
good  on  the  screen  to-day.  And  this 
voice,  coupled  with  rare  histrionic  ability, 
a  pleasing  appearance,  and  a  magnetic 
personality,  will,  if  aided  by  good  stories, 
make  Miss  Chatterton  the  queen  of  the 
talkie  world.  Here's  hoping  she  gets  good 
stories ! 

I  was  never  so  surprised  as  when  I  un- 
wittingly attended  a  picture  starring  Olive 
Borden.  I  do  not  hesitate  to  say  that 
in  the  past  I  always  shunned  pictures  in 
which  she  appeared.  She  had  always 
seemed  to  me  to  be  too  highly  artificial, 
constantly  posing  and  grimacing.  But 
when  I  saw  "Hello,  Sister,"  I  received  a 
delightful  shock.  Miss  Borden  can  act. 
She  has  a  lovely  voice,  and  uses  it  well. 
She  has  discarded  her  artificialities,  and 
in  this  picture  she  displays  marked  talent. 
She  has  been  hiding  her  light  under  a 
bushel,  or  else  it  took  the  talkies  to  bring 
it  forth.    The  girl  is  good. 

It  makes  me  laugh  every  time  I  read  a 
scathing  indictment  of  some  favorite  star 
in  "What  the  Fans  Think."  Any  one 
with  half  a  brain  cell  can  tell  that  the 
writer  is  one  of  these  smart  Alecks  who 
like  to  start  a  fight,  verbal  or  otherwise. 
And  all  the  indignant  fans  who  immedi- 
ately fall  into  the  trap  and  make  fiery 
retorts — it  is  to  laugh !  Why  don't  they 
grow  up  and  act  like  mature,  rational 
beings?  If  they  would  only  hold  their 
tongues — or  pens,  I  should  say — these  chil- 
dren would  get  tired  of  trying  to  start  an 
argument,  and  would  write  really  intelli- 
gent criticisms.  Be  your  age,  fans,  and 
write  your  letters  accordingly.  We're  all 
adults  who  read  this  department,  and  we 
would  like  literary  fare  suited  to  the  adult 
palate.  Una  S.  Adler. 

335  Grant  Street. 
Buffalo,    New   York. 

Do  Secretaries  Annex  Quarters? 

There  seems  to  be  a  great  deal  of  dif- 
ference in  the  opinions  of  fans  as  to 
whether  they  should  receive  photos  upon 
payment  of  twenty-five  cents  to  the  stars. 
Take  Hillie  Townley's  letter  in  April 
Picture  Play.  She  seems  to  think  that 
the  rest  of  u^  should  take  pleasure  in 
losing  our  money,  as  long  as  she  con- 
tinues to  be   favored  hv  the   stars. 


What  tke  Fans  Think 

Billie  says  that  none  of  us  would  send 
a  photo  out  if  some  one  were  to  write 
in  for  it,  and  inclose  a  quarter  to  cover 
cost  She's  absolutely  right.  Neither 
would  we  send  one  if  the  request  were  not 
accompanied  by  money.  There  is  a  dis- 
tinct difference  between  our  lives  and 
those  of  the  stars,  and  such  a  procedure 
would  be  entirely  out  of  order.  We  do 
not  play  up  to  the  public  for  our  means 
of  living,  and  are  therefore  not  bound  to 
such  courtesies. 

On  the  other  hand,  it  is  an  understood 
fact  that  the  star  is  expected  to  send  his 
photograph  to  admirers.  It  Has  been  the 
practice  in  the  past,  and  will  continue  to 
be  in  the  future — even  though  money  is 
now  requested.  Personally,  I  believe  that 
in  many  instances  the  star's  secretary  is 
to  blame  when  a  photo  does  not  come  in 
return  for  twenty-five  cents. 

And  now  for  Richard  McGinnis'  letter 
in  the  same  issue  of  Picture  Play.  He 
claims  that  none  of  us  would  think  of 
writing  to  any  one  outside  the  movie  in- 
dustry for  an  autographed  photo.  I  have 
collected  autographs  for  the  past  eight 
years,  and  most  of  them  have  come  to  me 
on  photos.  Of  these  eight  years,  only 
two  have  been  spent  in  an  effort  to  se- 
cure those  of  screen  stars.  These  people 
outside  the  movie  world  have  to  pay  a 
great  deal  more  for  their  pictures,  be- 
cause they  are  not  printed  in  lots  like 
those  of  the  stars.  Yet  these  famous  men 
and  women  respond  to  letters  in  a  man- 
ner that  puts  our  movie  idols  to  shame. 

This  photo  business  is  a  problem,  and 
here's  hoping  that  some  clear-minded  ex- 
ecutive will  present  a  satisfactory  solu- 
tion of  it  in  the  near  future. 

Bill  Batty. 

74  Mill   Street, 

Middletown,    Connecticut. 

Fickle!     Fickle! 

You  cannot  blame  the  players  for  not 
getting  excited  over  their  fan  mail.  They 
know  that  public  opinion  is  "for"  them 
one  day  and  "against"  them  the  next,  with 
very  little  reason  for  the  change. 

A  player  may  be  ever  so  good,  but 
give  him  or  her  an  unsuitable  role,  and 
right  away  he  has  lost  half  his  following. 
I  am  beginning  to  think  that  the  success 
of  any  player  depends  upon  getting  just 
the  right  story,  direction,  et  cetera.  There 
are  thousands  of  players  who  could  be 
hits  under  the  right  circumstances. 

Take  John  Gilbert  and  "The  Big  Pa- 
rade." How  many  remember?  Very  few. 
Most  of  his  fans  are  knocking  him  be- 
cause his  last  picture  wasn't  up  to  stand- 
ard. Yet  if  he  did  it  once,  he  can  do  it 
again,  under  the  right  circumstances — 
yes,  voice  and  all ! 

Perhaps  stars  would  appreciate  their 
fan  mail  more  if  fans  would  be  a  little 
more  constant  and  do  less  unnecessary 
knocking.  It  never  did  any  one  any  good, 
and  life  is  hard  enough  for  us  all  with- 
out making  it  harder  by  unkind  criticism. 
Mrs.  E.  Roberts. 

195   University  Avenue, 
Rochester,  New  York. 

Diluted   Admiration. 

What's  the  matter  with  Ramon  Xo- 
varro?  Is  he  afraid  to  play  opposite  a 
good  actress  for  fear  she'll  steal  the  pic- 
ture? 

The  reason  for  this  outburst  is  Doro- 
thy Jordan,  who  played  with  him  in 
"Devil-May-Carc."  If  she's  an  actress, 
I'm  Sarah  Bernhardt !  She  is  completely 
negative — no  more  personality  than  a 
sheet  of  white  paper.  Furthermore,  she 
isn't  even  good  looking.  In  other  words, 
she's   absolutely  nil !     Marion   Harris  was 


a  little  better,  though  she'll  certainly  never 
set  the  screen  on  fire. 

I  was  disappointed  in  "Devil-May-Care." 
Novarro  was  good,  but  no  player  is  cap- 
able of  being  the  whole  show,  and  No- 
varro, as  good  as  he  is,  is  no  exception. 
With  a  real  leading  woman,  that  picture 
would  have  been  excellent,  rather  than 
ordinary. 

I  am,  however,  very  much  pleased  with 
Novarro's  voice.  When  I  heard  him  sing 
in  "The  Pagan"  I  was  disappointed,  as  I 
had  heard  so  much  about  his  operatic 
training,  but,  of  course,  "Devil-May-Care" 
gave  him  a  much  better  opportunity  to 
show  what  he  could  do  as  a  singer,  and 
he  lias  quite  come  up  to  expectations,  al- 
though you  must  admit  that  he's  no  opera 
singer. 

Now,  hold  on,  Novarro  fans,  I  am  not 
panning  the  beloved  Ramon.  I'm  as  de- 
voted a  fan  as  any,  and  for  that  reason 
I  don't  like  to  see  him  make  a  mistake. 
I  don't  suppose  we'll  ever  have  another 
"Ben-Hur,"  but  I  do  think  he  should  have 
good  stories  and  capable  supporting  casts, 
and  he  certainly  didn't  this  time.  Why, 
oh,  why,  doesn't  M.-G.-M.  let  Renee 
Adoree  play  opposite  him?  They'd  be 
wonderful  together  !  M.   Shorey. 

Casper,  Wyoming. 

Corresponding    With   Joan. 

So  much  has  been  written  about  Joan 
Crawford's  indifference  to  fan  mail,  I 
think  it  time  some  of  her  admirers  came 
to  her  defense.  If  one  is  a  devotee  of 
Miss  Crawford,  it  rankles  to  hear  her 
spoken  of  as  high-hat  and  aloof.  Know- 
ing Miss  Crawford  as  I  do,  such  attri- 
butes could  not  be  further  from  her  na- 
ture. 

It  all  began,  my  friendship  with  Joan 
Crawford,  in  March,  1926.  I  saw  her 
for  the  first  time  in  "Sally,  Irene,  and 
Mary,"  and  she  had  the  most  fascinating 
face  I'd  seen  in  the  movies.  She  was 
wearing  a  long  bob  then,  and  had  her 
hair  parted  in  the  center.  She  danced 
like  one  possessed  and  smiled  like  a  nun. 
I  thought  the  combination  of  sophistica- 
tion and  innocence  irresistible  and  wrote 
and  told  her  so.  Two  weeks  later  she 
answered  me  in  this  fashion :  "Miss 
Juliette,  I  do  so  wish  to  thank  you  for 
your  lovely  letter.  Letters  like  yours 
are  the  most  marvelous  thing  in  the  world 
to  help  me  along  in  my  work,  to  give 
me  the  confidence  I  need.  Love,  Joan 
Crawford." 

The  letter  went  straight  to  my  fifteen- 
year-old  heart.  I  was  hers  for  the  ask- 
ing, and  since  that  time  I  doubt  if  Miss 
Crawford  has  had  a  more  persistent  press 
agent.  Accompanying  the  letter  was  an 
autographed  photograph.  A  worshipful 
attitude  was  inevitable.  I  was  so  grate- 
ful to  her  for  liking  me  for  being  fond 
of  her. 

A  few  months  later  she  wrote  me  again, 
only  a  note  telling  me  she  appreciated  my 
letters  and  wanted  me  to  write  as  often  as 
I  could  and  not  be  grieved  if  she  neg- 
lected me  occasionally!  Grieved?  I  was 
entirely  too  thrilled  to  be  upset  by  any- 
thing she  might  do. 

The  correspondence  flourished,  though 
it  was  a  one-sided  affair.  I  wrote  about 
six  letters  to  her  one,  but  I  enjoyed  it. 
Everywhere  I  read  that  Joan"  Crawford 
was  the  coming  star  and  that  she  was  as 
indifferent  to  her  fan  mail  as  Greta  Garbo 
spems  to  be.  I  felt  exalted  that  she  still 
wrote  to  me,  but  I  disliked  the  fans  think- 
ing her  aloof,  so  I  wrote  my  first  letter 
to  "What  the  Fans  Think."  I  had  hun- 
dreds of  answers  to  that  letter,  asking 
how  one  got  in  touch  with  Miss  Craw- 
Continued  on  page  12 


11 


SHE    CANT    PLAY    A     NOTE" 


This  1 1  be  Funny 

they  shouted  as  she 
sat  down  to  play 

. out  a  minute  Later. . . 


mi  GUESS  we're  stuck  right  here  for  the 
*  afternoon."  sighed  Jane,  as  tin-  rain  be- 
gan coining  down  in  torrents.  The  usual 
crowd  always  gathered  at  the  club  on  after- 
noons such  as  this. 

"I  Bsmpofle  this  means  more  bridge,  and  I'm 
tired  of  that."  said  John  Thompson.  "Can't 
Vt  find  something  different — sunn-thing  un- 
usual to  do?" 

Well,     here     comes     Sally     Barrow.        She 
might    offer,    some    solution    to    the    problem," 
-ted  Jimmy  Parsons,  with  a  laugh. 
Poor    Sally  !       I'nfortunately    she    was    con- 
siderably overweight.      It  Seemed   she  was  just 
tied    to   be    heavy   and    plump.      But    the 
1       -  all  Ukrd  Sally — she  was  so  Jolly  and  full 
of  fun. 

•  !!•  '  .  everybody."  rame  Sally's  cheery 
greeting.      "What-   new?" 

•Thats    juM    it.    Sally.      W      were    trying   to 
find    some    excitement    and    we've    just 
r  ed    the   end   of    our    rope."    replied   John. 

"Would  it  surprise  you  if  I  played  a  tune 
or  tv  i   on    the   piano'-      I'm   not  aw- 

fully  good   as    vet.   but    I'll    try ." 

11   play.   Sally?      I>on't    !-•   fumy  :"      The 
very   idea   of   Sally  having  tal- 
ent    in     any     direction     struck 
as    a    joke, 
aturwl   though 

mg    laughed    at 
•    as    John    Th"' 
didn't     join     In     the     laughter. 
Sally    liked    John — raor 
r.  d   to   admit. 
The     laughter    became 

Sally      walked 
the 
piat.  ■         ' 
a  fei 

I  laughing 
and     turned     to     wa' 
"W.'ll.    any    one    eosjM    play   a 
few      chords."      they      thought 
without      the      slig 
'tion    and    ju-t    as    If    she 
been    plavlng    for    yearn. 
8ally     broke     into     I 
Broadway    hit.      Her   list 


couldn't  believe  their  ears!  Sully  continued 
to  play  one  lively  tune  after  another.  Some 
danced  while  others  gathered  around  the 
piano   and   sang. 

Finally  she  finished  and  rose  from  the 
piano.  John  Thompson  was  at  her  side  im- 
mediately, brimming  over  with  curiosity.  He 
never   knew   she   could   play   a   note. 

Where  did  you  learn?  Who  was  vour 
teacher?"  John  asked.  "Why  didn't  yon  tell 
me  about  it  sooner?" 

"It's  a  secret — and  I  won't  tell  vou  a 
thing  about  it  .  .  .  except  that  I  had  no 
teacher  :"    retorted    Sally. 

Sally's  success  that  afternoon  opened  up  a 
world  of  new  pleasures.  John,  particularly, 
took  a  new  and  decided  interest  in  Sally. 
More    and    more    they    were-    seen    in    each    otii- 

eompany.  But  it  was  only  after  con- 
siderable teasing  on  John's  part  that  Sally 
told  him  the  secret  of  her  new  found  musical 
ability. 


Sally's  Secret 


Learn  to  Play- 
by   Note 


PlUM 
O'lan 
Ukaleia 
Carart 

Tr«rab»n» 

Piccele 

Guitar 


Him.ii    St»H    Guitar 

Siaht   Siaalaa 

V»i(»  aad   ll«th   Cultura 

Drum   ►nd   Traat 

Autaraiti;    F  mt«r    Central 

Baa)*   (Plertmai.   J-Striaa. 

•r   Ttaar) 

Piaaa   Accerdlaa 

Italiaa    l«t    Gcraiaa 

Accerdlaa 

Harauay  aad   Ceiaeet  itien 


"Ton  may  laugh  when  I  tell  vou."  Sally 
"but  I  learned  to  play  at  homo,  with- 
out a  teacher.  You  see,  I 
happened  to  see  a  T\  s 
School  of  Musi,-  advertise- 
ment Tt  offered  a  Free  Dem- 
onstration Lesson,  so  I  wrote 
for  it.  When  ir  came  and 
I     saw     how     easy     it     all     was, 

•  for  the  complete  coarse. 

What     pleased     me     most      was 

that     I     was     playing     simple 

by    note    right    from    the 
Why.     It     was     ju 
Simple      a-       A   1!  C      '"      follow 
the     clear     print      and     picture 

Illustrations     that     came     with 

the     I.  ,.\v     I     c.iii 

many  by      not*      and 

nil       the       popular       inn 

Ami      Jn-t      think        the 

few 

■    v  !" 


Viatln 

Clarinet 

Fluta 

Saieahenc 

Hare 

Mindalia 

Xolla 


Today,    Sally    is    one    of    the    moil     popular 
girls    in    her    Kt      Anil    we    don't    need    i 
you  that  she  and  John  are  now  engaged  I 

The  story  is  typical  The  amazing  success 
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reading  ami  playing  mnsic  as  eas.\   as  a  b  C 

Fvin  if  you  don't  know  one  note  from  an- 
other you   can    easily    grasp   each    clear,    i 

Ing    lesson    of    this    surprising    course.      You 

can't  go  wrong.  First  you  are  If, hi  how  to 
do  ii.  then  a  picture  thQUOt  vou  how,  and 
then    you    do    it    yourself    and    hear    it. 

Thus  you  teach  yourself — in  your  spare 
time  right  in  jour  own  home,  without  any 
long  hours  of  tedious  practice. 

Free  Book  and  Demonstration 
Lesson 

Our  wonderful  Illustrated  Free  Book  and 
Our  Free  Demonstration  Lesson  explain  all 
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539  Brunswick   Bldg..    New  York   City. 

Frio     Tl.-ik  •  n«     In 

with      Intrci.lii.  rl..n     hv      Mr       Frank 

plan.      I    am    Interacted    In    II 

luwInK   ' 

Hare 
Name   

Cttf      St.lr     


]_' 

Continued  from  page  10 
lord,  if  I  had  her  home  address,  if  I  was 
simple  enough  to  believe  she  really  wrote 
the  letters  1  got,  and  what  magic  formula 
I  used  i"  extract  anj  sort  ol  attention 
from  the  unapproachable  Miss  Crawford. 
I  don't  know  why  she  writes  to  me,  for 
she   still   does   every    few   months,   but    I 

have  my  own  idea-  on  the  matter.     1  think 

she  has  a  loyal  nature,  and  because  I  loved 
her  from  the  first  she  has  been  grateful 
and  tried  to  be  as  loyal  to  me.  From  her 
letters  I  know  her  to  be  a  sympathetic 
and  charming  person,  with  a  heart  as  big 
When  1  praised  her  stye  wrote: 
"11  w  on  earth  can  I  ever  live  up  to  all 
the  ideals  you  have  built  for  me?  You 
had  better  stop,  cause  I  expect  to  meet 
you  some  day  and  I'd  hate  to  ruin  every- 
thing. I  have,  oh!  so  many  freckles,  lit- 
tle, tiny  ones,  across  my  nose.  Now,  do 
you  still  like  me?"  Another  time  she 
wrote:  "1  do  hope  you  will  excuse  this 
writing,  as  I  am  ill  with  tonsilitis,  which 
is  dreadful.  Have  been  in  bed  for  three 
days  with  it  and  expect  to  be  in  some  time 
yet.  But  every  one  has  been  so  marvel- 
ous to  me.  People  coming  in  all  the 
time,  flowers,  candy,  books — well,  after 
all,  it's  sorta  nice  to  be  kinda  sick,  some- 
times." Once,  when  I  didn't  hear  from 
her  for  several  months,  she  wrote  a  beau- 
tiful letter.  Part  of  it  read:  "Poor,  dar- 
ling Juliette,  I've  neglected  you  dreadfully 
lately,  ha%-en't  I?  Please  believe  me  when 
I  say  I've  been  working  dreadfully  hard, 
dear,  on  'The  Taxi  Dancer.'  It  will  be 
finished  in  another  week." 

Time  went  on  and  I  felt  myself  en- 
throned in  the  affections  of  Joan  Craw- 
ford. I  grew  up  a  little  bit  and  fell  in 
love  so  badly  I  wrote  Joan  about  it.  At 
the  time  she  was  getting  a  lot  of  publicity 
about  Mike  Cudahy.  She  wrote :  "Hap- 
piness, dear  Juliette,  comes  to  us  so  sel- 
dom, so  if  you've  a  chance  to  find  it, 
grasp  it  with  everything  you  possess  and 
don't  ever  release  it.  It's  the  most  won- 
derful thing  in  all  the  world.  It's  a  pity 
we  can't  have  it  always.  I've  never  had 
it,  and  probably  never  shall.  But  thank 
goodness  for  my  work — it  occupies  my 
mind.  Oh,  well,  it  doesn't  matter.  It's  all 
in  a  lifetime,  they  say.  They're  calling 
me  on  the  set,  so  I  must  run  along. 
Write  soon  again  one  of  your  sweet  let- 
ters. Love,  Joan."  If  I  had  needed  proof 
that  she  was  human  like  the  rest  of  us, 
and  lived  and  loved  and  regretted  the  in- 
evitability of  life  and  love,  that  would 
have  provided  it.  She  was  then  the  toast 
of  Hollywood,  the  hey-hey  girl  of  film- 
dom,  but  it  didn't  make  her  happy. 

When  she  wrote  me  about  Douglas,  Jr., 
before  they  were  married,  I  wished  her 
lasting  happiness  and  fervently  hoped  that 
Douglas  was  worthy  of  her.  "Silly  child! 
You  say  you  wish  Douglas  were  worthy 
of  me.  My  main  ambition  at  present, 
dear  Juliette,  is  to  try  to  be  worthy  of 
him.  You  will  never  know  what  a  fine, 
gentle  person  he  is — tender,  sweet,  ador- 
ing, and  adored."  And  after  she  was 
married  she  wrote  me  this:  "Yesterday 
was  the  anniversary  of  our  fourth  heav- 
enly wedded  month.  We  arc  so  happy 
that  it  seems  like  a  dream.  And  if  it 
were  a  dream,  and  I  awoke  to  find  it  gone 
— well,  I'd  rather  think  how  happy  we  are 
and  take  a  chance  on  not  waking." 

Frankly,  I  think  she  is  the  most  appre- 
ciative actress  on  the  screen.  She  says: 
"It's  grand  to  read  one  of  your  letters  and 
feel  some  one  who  doesn't  even  know  me 
can  have  such  utter  confidence.  It's — 
well,  it's  thrilling,  truly  it  is.  I  do  so 
hope  I  can  always  merit  your  praise. 
Don't  forget  to  write  often,  and,  also, 
don't  he  afraid  to  criticize  me,  for  I  love 
honesty."  I  think  the  keynote  of  her 
character    is    honesty.      She    liked   my   de- 


What  tke  Fans  Tkink 

votion  and  wasn't  afraid  to  admit  it.  She 
is  certain  I  idealize  her  too  greatly  and 
she  is  big  enough  to  tell  me  so.  She  is 
too  elemental  ever  to  be  superficial.  The 
day  when  she  thought  material  pleasures 
were  all  that  mattered  has  passed.  Doug- 
las, her  work,  and  her  friends  mean  more 
to  her  now  than  the  frivolous  things  of 
life.  I  adore  her,  and  if  I  didn't  admire 
and  respect  her  I  never  could  do  that. 
Juliette  Brown. 
Erie,    Pennsylvania. 

l     Just  Ask  Them. 

Bunty  d'Alton  of  South  America  can't 
see  how  we  girls  can  support  a  "hick" 
like  Neil  Hamilton.  Of  course  you  can't, 
Bunty,  but  any  American  with  the  least 
bit  of  sense  can.  Mr.  Hamilton  typifies 
the  young  man  of  to-day,  with  fresh 
charm,  nice  looks,  and  keen  sense  of  hu- 
mor. There  are  others  just  like  him — 
Richard  Arlen,  Lloyd  Hughes,  Grant 
Withers — young  American  men  that  any 
girl  can  be  proud  to  claim  as  a  husband 
or  sweetheart.  Just  ask  Jobyna,  Gloria 
Hope,   or   Loretta  Young. 

Will  some  one  please  tell  Alice  White 
to  pack  her  trunk  and  take  the  first  train 
North?  Her  place  on  the  screen  has 
been  taken  by  charming  and  sparkling 
Helen  Kane.  From  now  on  Helen  is-  my 
pet  flapper,  baby  voice  and  all.  She's  got 
more  "It"  in  her  little  finger  than  Alice 
has  all  over  her  body.  Clara  Bow  is 
safe,  however.  With  a  little  reducing  and 
a  hair  cut  she'll  be  our  same  old  Clara, 
peppy  and  lovable,  getting  her  man  and 
making   him    like    it.  "Dimmy." 

312  Read   Street, 

Santa  Fe,  New  Mexico. 

A  Marine  Reports. 

We  are  having  an  epidemic  of  the  worst 
pictures  that  I  have  ever  seen.  It  is  a 
rare  occasion  now  to  go  into  a  theater 
and  see  a  good  picture.  In  choosing  a 
picture  I  consider  the  title,  the  star,  and 
then  the  producer.  If  they  appeal  to  me 
I  go  in.  There  are  so  many  new  stars, 
the  title  means  more  than  anything  else. 
But  titles  are  misleading.  True  in  the 
case  of  "The  Love  Parade."  That  is  the 
finest  comedy  I  have  seen  in  a  long  time. 
It  is  great  in  that  it  brings  to  moving 
pictures  three  actors  who  should  please 
the  majority — Maurice  Chevalier,  Jeanette 
MacDonald,  and  Lillian  Roth.  Lupino 
Lane  and  his  slapstick  acting  appeals  to 
some,  no  doubt.  Why  wasn't  a  more  sug- 
gestive title  given  to  the  picture?  I 
wouldn't  have  gone  a  step  to  see  it,  but 
a  friend  talked  me  into  going  with  him. 
I  would  have  missed  a  great  picture  if  I 
hadn't  gone. 

Now,  a  word  about  Marion  Davies. 
They  should  have  kept  her  silent;  she 
was  fair  then,  but  now  that  she  talks  I 
Terrible !  In  "Marianne"  she  tries  to  talk 
with  a  French  accent  and  fails,  and  in 
"Not  So  Dumb"  she  is  absolutely  silly. 
Two  wasted  efforts.  I  hope  she  tries 
something  new;  I  can  stand  only  one 
more.  Nobel  S.  La  Fond. 

Receiving  Station,  Marine  Barracks, 
Puget  Sound  Navy  Yard, 
Bremerton,  Washington. 

Irene   Rich  Acclaimed. 

What  a  lot  of  new  fans  Irene  Rich 
must  be  making  by  her  vaudeville  appear- 
ances !  She  is  a  fan's  dream  come  true, 
with  her  exquisite  face  and  figure,  her 
beautiful,  expertly  used  voice,  and  her 
warm  and  vibrant  personality.  In  the 
hard-to-please  New  York  Palace,  she 
stopped  the  show,  and  each  time  I  have 
seen  her  act  she  is  riotously  received. 

Why  do  producers  rush  to  sign  stage 
stars  of  far  less  charm,  beauty,  and  ability, 


with  no  camera  technique  and  no  follow- 
ing, while  they  submerge  the  lovely  Irene 
in  stupid,  too  mature  roles.  We  are  still 
hoping  that  Miss  Rich  and  Ernst  Lubitsch 
will  soon  be  reunited  for  our  delectation. 
What  a  fine  vehicle  for  their  combined 
talents  would  be  "The  First  Mrs.  Fraser," 
now  current  in  New  York! 

Irene  Rich  should  be  coming  to  her 
greatest  popularity,  now  that  the  talkies 
have  brought  more  sophisticated  drama  to 
the  fore.  We  fans — and,  judging  by 
Irene's  reception,  we  are  numerous — 
want  to  see  her  more  often  and  in  roles 
suited  to  her  beauty  and  ability. 

Claire  Ferguson. 

218-19  139th  Avenue, 

Springfield    Gardens,    New   York. 

What  Is  Success? 

If  Air.  Novarro  is  a  failure,  then  is 
there  such  a  thing  as  success?  When  I 
read  that  interview,  I  was  tempted  to 
write  a  caustic  letter,  but  decided  to  wait 
until  I  had  cooled  off. 

It  seems  that  producers  have  to  be 
jolted  out  of  their  groove  every  so  often, 
but  they  insist  upon  slipping  back  into  it. 
It  is  crime  pictures  for  a  steady  diet  until 
the  public  hollers  for  mercy,  and  then  they 
change  to  a  steady  diet  of  something  else. 
It  is  easier  to  keep  giving  stars  the  same 
type  of  roles,  for  it  saves  thought  and 
effort. 

Although  adolescent  roles  do  happen  to 
fit  Mr.  Novarro,  they  could  give  him 
characters  that  are  deeper.  Young  peo- 
ple have  the  same  intense  emotions  that 
older  people  have,  and  I  see  no  reason 
why  adolescent  roles  could  not  be  fused 
with  deeper  meaning,  without  losing  the 
dash  and  charm  of  youth.  The  roles  that 
Mr.  Novarro  plays  are  usually  of  a  light 
and  shallow  character.  When  I  say  shal- 
low I  do  not  mean  dumb ;  I  mean  they 
skim  the  surface  of  life.  Mr.  Novarro's 
characterizations  are  never  dumb;  in  fact, 
his  portrayal  of  them  is  what  makes  the 
picture.  This  is  not  a  criticism  of  Mr. 
Novarro,  but  of  the  producers.  I  think 
the  stars  ought  to  be  more  temperamental 
and  demanding. 

As  for  the  critics  who  say  his  voice  is 
not  of  operatic  caliber,  I  will  say  this: 
When  I  saw  "The  Pagan"  there  was  a 
short  feature  a  few  days  before  in  which 
Tito  Schipa  sang.  Of  all  the  people  I 
heard  comparing  the  two  voices,  they  all 
preferred  Novarro's.  It  has  a  sweeter, 
mellower  tone ;  it  is  never  harsh  Or  shrill 
and  ear-splitting.  Pearl  O'Moore. 

864  Colorado   Avenue, 

Grand   Junction,   Colorado. 

A  Gift  for  Crocella. 

I  had  a  grand  time  reading  the  letters 
in  June  Picture  Play.  The  palm  should 
go  to  Gordon  Mackay  for  the  most  adult 
contribution,  and  the  booby  prize  to  Cro- 
cella Mullen  for  the  most  naive. 

All  hail  to  Mr.  Mackay  and  Florence 
Bogarte  for  attacking  the  Gish  myth. 
Says  Mackay,  "Lillian  Gish  could  never 
act,  and  some  time  the  people  were  bound 
to  find  it  out."  This  sums  it  all  up  very 
nicely,   I   think. 

In  the  early  days  of  motion  pictures 
there  was  a  saying,  "Posing  for  the  mov- 
ies." This  is  just  what  la  Gish  always 
has  done.  She  has  one  set  of"  manner- 
isms which  she  uses  in  all  her  roles.  If 
this  is  her  much-flaunted  screen  technique 
we  hear  so  much  about,  the  least  said  of 
it  the  better.  Surely  this  is  not  dramatic 
art.  Quinn  Martin,  in  the  New  York 
f V oild.  wrote  that  having  missed  "The 
Wind,"  he  made  a  special'  trip  to  an  out- 
lying cinema  house  to  view  it.  He  ends 
Continued  on  page  105 


IS 


Some  of  the  ad  v  an  tages  of  the  O  <r<  J . 
which  we  claim  actiul  «lri\  iog  con- 
vincingly demonstrates,  are:  It  is 
the  easiest  car  to  handle  because  it 
steers  easier  and  turns  shorter.  It 
it  without  equal  in  riding  comfort 
due  to  the  high  ratio  of  sprung  to 
unsprung  weight.  The  absence  of 
tendency  to  tipor  lean  on  turns 
i-  W&TJ  noticeable.  The  inher.  nt 
qualities  of  its  design  enable  it  to 
ir j\  b]  in  a  straight  line  Iwtter  than 
other  cars.  There  is  no  im  Im.ition 
to  side  sway  on  cobble  stones  and 
chuck  holes.  Its  scientific  se.ii 
comfort  is  unobtainable  in  any  other 
car.  And,  you  sense  wlw-n  dm  m_' 
it,  a  security  (bund  onb  in  the  Cord. 


WHAT  OWNERS  SAY 

rrI  am  very  much  pleased  with  the  Cord,  and  find 
it  a  beautiful  car,  perfect  for  the  road.  I  have 
had  less  trouble  with  the  Cord  than  with  any  car 
1  have  ever  owned." 


CORD 


FRONT  DRIVE 


§i.D\N     »     /■>-,   .   .    BROt   <.I1\M     I 


CABKIdl.i        I  PBASTOM     I129S  F'r.r~  I    o   II    A..l...r 

AIBI  HN    AI-TOMOBII.I     I'lMI'ANV         M   H  IS.    |M.IAN\ 


•i*-nr  olhme  th.i  i  uttn.lard,  < 


14 


Qkl  Win  onafhrilly  furore 
and  a  roarin'riot  come* 


rrI  maize  ze  love  to  you  myself — personal . . . 
What?  Because  you  are  marry  you  do  not 
wish  to  spik  of  love!  Leesen  Lady  —  eef 
Pancho  Lopez  ivant  tvoman,  he  take  her, 
dam  queek!" 

*     *     * 

Listen  to  him!  The  perfect  lover  with  a 
broken  accent  to  mend  broken  hearts!  — 
L'il  old  Cupid  with  a  six  shooter — the  Robin 
Hood  of  the  deserts — The  greatest  character 
ever   brought   to   the    talking    screen    by 

Walter 

HUSTON 

Assisted  by  Dorotby  Revier,  Sidney  Blackmer, 

Jarnes  Rennie 
DIRECTED  BY  CLARENCE  BADGER  from 
Porter  Emerson  Browne's  melodramatic  uproar. 

'Vitaphonc"  is  the  registered  trade-mark  of  The  Vitaphone  Corporation. 


A  FIRST  NATIONAL  fr 
VITAPHONE  PICTURE 


I.-, 


PICTURE  PLAY,  October,   1930  Volume  XXXIII     Number  2 


"Way  For  a  Sailor"  promises  to  bring  about  John  Gilbert's  vocal  rejuvenation,  which  should  mean  hi>  restoration 
to  fa  Certainly  it  i-.  a  lusty  hero  he  play — one  shorn  of  the  refinements  of  the  sophisticated  ad- 

venturer in   "One  Glorious   Night"  or  the   introspective    futilities   of   "Redemption."      Ihre   he   i>   Jack,   v. 
playground  i>  the  freighter  on  which  he  ships  as  a  sailor  and  v.  en   pastures  are  the  docks  and   the  dive-. 

and  the  women  who  frequent  them,  among  whom  is  l:lossic,  played  by  the  versatile  and  interesting  Doris  Lloyd. 


10 


Nancy    Drexel,    of   Janet    Gay- 

nor's  type,  has  done  good  work 

with  little  reward. 


While  Talent 

Producers    raise    a    cry    for    new    faces,    or   waste 
acting,  leaving  often  more  versatile  actors  to  cool 

answer?     You 

By  Samuel 

Right  on  the  same  lot  with  Mr.  Farrell  was  another 
Charlie — last  name  Morton — who  looks  enough  like 
Farrell  to  be  his  twin  brother.  Morton  played  a  typi- 
cal Fasrell  role  in  "Christina,"  opposite  Gaynor,  and 
was  highly  praised  for  his  work.  He  played  a  part 
that  might  have  been  written  for  William  Haines,  in 
"None  But  the  Brave,"  and  played  it  so  well  it  got  him 
a  contract  with  Fox. 

And  he  plays  dramatic  parts  with  equal  facility,  as 
witness  "Four  Sons"  and  "The  Four  Devils."  And.  if 
that  is  not  enough,  he  really  can  sing,  as  witness  his 
work  in  "Caught  Short,"  with  Marie  Dressier  and 
Polly  Moran. 

Yet  Farrell,  who  gets  a  large  salary,  goes  from  option 
to  option  while  Morton,  who  commands  about  a  fifth 
the  salary  Farrell  receives,  and  who 
is  certainly  the  cleverer  of  the  two, 
was  let  out  by  Fox  and  finds  difficulty 
in  persuading  producers  to  give  him 
a  chance. 

Take  the  other  half  of  the  famous 
duo,  little  Janet  Gaynor.     The  same 


Fred 


Kohler's  name 
-but      George 


WHAT  with  all  the  hub- 
bub that's  raised  from 
time  to  time  by  pro- 
ducers about  not  being  able  to 
find  new  faces  for  the  screen. 
with  sufficient  talent  to  war- 
rant giving  them  a  chance,  it's 
hard  to  reconcile  oneself  to 
the  idea  that  right  here  in 
Hollywood  are  people  capable 
of  playing  the  same  sort  of 
roles  that  our  favorites  are 
playing. 

And  not  only  that,  but  in 
many  cases  they  are  capable  of 
playing  them  better  than  they 
are  being  played  at  present. 

A  year  ago  Farrell  and  Gay- 
nor were  probably  the  biggest 
box-office  attractions  in  the 
business.      And   only   recently. 

in  a  poll  conducted  by  several  newspapers,  they  were  elected  King  and 
Queen  of  the  Movies — though  what  Doug  and  Mary  will  say  to  that, 
/  don't  know. 

Anyhow,  Charlie  is  one-  of  the  very  nicest  boys  in  Hollywood.  But 
he  isn't  an  actor.  He  lias  a  certain  wistfulness  that  happened  to  fit  his 
roles  in  "Seventh  Heaven,"  "Street  Angel,"  and  "Lucky  Star,"  and  that 
is  what  put  him  across.  Cast  him  in  another  type  of  role  and  see  what 
happens — "Fazil,"  "The  Red  Dance,"  "City  Girl,"  and  "The  River." 

You  tell  'em— or  maybe  it  would  be  more  charitable  to  forget  'em. 

(  )n  the  other  hand,  suppose  you  had  a  chap  who  could  play  the  same 
type  of  roles  that  put  Charlie  across  and  who,  in  addition,  was  versatile 
enough  to  play  those  other  roles  that  Charlie  was  not  capable  of  por- 
traying convincingly.  You'd  think  the  producers  would  go  for  him 
hook,  line,  and  sinker,  wouldn't  you?      But  they  don't. 


tries 


is  never  in  elec- 
Bancroft  won't 
him. 


I'liulo  by  Hurrell 

Gwen    Lee's    ability    to    play    hard- 
boiled  girls  is  too  often  ignored. 


^ 


17 


Goes  Begging 

months  wheedling  a  temperamental  player  into 
their  heels  on  the  waiting  lists.  What's  the 
figure  it  out ! 

Richard  Mook 


remarks    concerning    Farrell's    wistfukiess 
Miss  Gaynor. 

I  don't  mind  admitting  that  she  can  start  nn  tear 
ducts  overflowing  with  little  or  no  effort,  l>ut  it'-  more 

because  of   an  appealing,   helpless   look   she   manages 
than  because  of  any  great  histrionic  ability. 

When    she    appeared    in    "Sunny    Side     Up"    ant 
"Happy  Days"  as  a  song-and-dance  girl,  1  wasn't  the 

onlv  one  who  wept  real  tears  over  the  spectacle  she 
made  of  herself. 

Imagine  my  surprise  when,  in  answer  to  my  out- 
burst oi  rage  at  tin-  studio  for  having  cast  Janet  in 
such  parts,  the  young  lady  accompanying  me,  who 
was  also  under  contract  to  Fox,  said  "Why.  that 
wasn't  their  fault.    Janet  insisted  upon  singing!" 

That   statement   was   hard   to    -wallow,    but    it    was 
long  after  that  that  Miss  t '.ay- 
announced    that    she    was    all 
through   playing  parts   like   Chris- 
tina and  .Y; 

The  studio  had  planned  to  co- 
star  her  with  Farrell.  in  "Devil 
With  Women."  known  on  the  stage 
as  "Liliom." 


Sally  Starr  is  Clara  Bow's  double — 
in  certain  poses. 


• 


The     blond     beauty     of      Virginia 
Bruce  is  kept  in  small  parts. 


T  regard  Farrell  as  totally  un- 
suited  to  the  swaggering  crook  he 
portrays  in  the  picture  created 
on  the  stage  in  this  country  by 
foseph  Schildkraut — but  the  girl's 
part  was  made  to  order  for  Miss 
( iavnor. 

Eva  Le  Gallienne,  one  of  the 
best  actresses  on  the  New  York 
stage,  jumped  at  it  when  it  was 
offered  to  her.  but  Miss  Gaynor 
did  not  consider  it  sufficiently  big 
for  her  talents. 

She  announced  in  no  uncertain 
tones  that  either  she  would  play 
the  part  in  "Common  Clay"  which 
Jane  Cowl  created  on  the  stage, 
and  for  which  Fox  had  borrowed 
Constance  Bennett,  or  -he  would 
play  nothing. 

Fortunately,  Fox  declined  to  let 
her  dictate  and  proceeded  with  the 
picture  as  planned.     To  date  Janet  has  kept  her  word  and  has 
made  a  picture  in  montl 

same  lot   with  the  temp  Gaynor  was  another   little 

named  N'ancy  Drexel.     She  look  much  like  (iavnor  as 

•■ret tier.     Where  Jai 
ledly    limited    in    what    she   can   do,    Xan<  m    al- 

•   unlimited. 

playing   leads    in   con, 
d  and  cast   in  a  heavy  dramatic  part   in  She 

1!  that  -:  iven  a  long-term  contract  and  cast  in  "The 

Devils."     And  ed  in  making  a  small,  colorless  part 

out    in   a   picture   that    boa-ted    (iavnor.    Mary    Duncan. 
Morton,  and  Barry  Norton  in  the  cast. 

played  a  prep-school  belle  in  "Prep  and   I 


Charles    Morton    has    the    same 

appeal  as  Charles  Farrell,  and  is 

more    versatile. 


18 


While  Talent  Goes  Begging 


Photo  by  Frculich 

Glenn   Tryon   is   a   veteran  player   of   Jack    Oakie's   type   of 
role,  but  where  is  he? 

with  David  Rollins  and  Frank  Albertson,  and  played  it  in 
a  manner  that  made  you  believe  in  her  as  one,  as  contrasted 
to  Helen  Chandler's  work  in  a  similar  role  in  "Salute." 

Yet  Fox  still  wheedles  Miss  Gaynor  in  an  effort  to  per- 
suade her  to  go  hack  to  work,  while  Miss  Drexel  languishes 
in  undeserved  neglect. 

Nor  is  it  only  the  hoys  and  girls  playing  leads  who  find 
it  hard  work  gaining  the  recognition  to  which  they  are 
entitled.  Character  people  sometimes  find  the  sledding 
just  as  rough. 

The  life  of  the  Paramount  officials  has  not  been  one 
long  sweet  song  where  George  Bancroft  is  concerned. 
Mr.  Bancroft  is  good,  and  he  is  not  at  all  backward  about 
telling  any  and  every  one  just  how  good  an  actor  he  is. 

On  the  other  hand,  Fred  Kohler  is  equally  as  good  or 
better.  In  proof  of  which  statement.  I  offer  his  work  in 
"Underworld"  and  "The  Showdown,"  two  pictures  star- 
ring Bancroft,  fn  fact  he  was  so  good  he  told  me  that 
George  refused  to  play  in  any  more  pictures  with  him. 
Bui  you  don't  find  Kohler's  name  in  electric  lights. 

Evelyn  Brent  has  made  crook  girls  a  pleasure  and  a  joy 
r.  It  w  of  us  would  mind  being  fleeced,  if  a  woman 
like  Miss  Brent  did  the  fleecing,  and  you  can't  say  more 
than  that. 

But,  too,  Gwen  bee  knows  a  couple  of  tricks  about 
playing  hard-boiled  characters  in  a  way  that  makes  you 
like  'em. 

Equally  as  capable  as  la  Brent,  Gwen  pursues  her  lonely 
way  from  bit  to  bit,  a  living  rebuke  to  the  lack  of  dis 


ment  on  the  part  of  producers  who  permit  her 
talent  to  go  unused. 

The  greater  pity  is  that  Gwen  seems  to  be  losing 
heart  in  the  long  struggle,  for  she  hasn't  the  trim 
look  any  more  that  used  to  distinguish  her. 

On  the  same  lot  with  Gwen  are  the  boisterous 
William  Haines,  who  wisecracks  to  the  delight  of 
the  great  American  public,  and  young  Eddie  Nu- 
gent who  is  quite  capable  of  topping  Mr.  Haines' 
bon  mots,  if  given  an  opportunity. 

Eddie  photographs  more  handsomely  than  Billy, 
he  is  younger,  and  fully  as  clever.  That  his  reputa- 
tion— which  is  no  small  one — has  been  built  on 
nothing  more  spectacular  than  bits,  is  a  tribute 
to  his  outstanding  ability.  He  has  never  had  a 
leading  role. 

Discouraged  and  disgruntled  over  the  lack  of 
attention  paid  to  him.  he  has  repeatedly  asked  to 
be  released  from  his  contract.  But  his  employers 
find  it  cheaper  to  keep  him  at  the  small  salary  he 
gets,  and  use  him  when  they  need  him,  than  to  let 
him  go,  and  take  a  chance  on  some  other  company 
developing  him. 

Occasionally  a  player  lands  solidly  and  then, 
through  some  freak  of  circumstance,  finds  himself 
displaced. 

Glenn  Tryon  scored  a  smashing  hit  a  few  years 
ago  in  "Painting  the  Town."  He  was  immediately 
signed  to  a  starring  contract.  In  my  humble  opin- 
ion he  is  one  of  the  outstanding  comedians  in 
pictures,  but  few  people  remember  him  now,  while 
Jack  Oakie,  who  plays  the  same  type  of  roles,  rides 
the  band  wagon. 

Glenn's  grin  is  just  as  infectious,  he  dances 
equally  as  well,  he  is  better  looking,  and  is  without 
Oakie's  conceit. 

But   Jack   gets   the    stories,   and   you'd   have   a 

J.  Harold  Murray  does  not  get  the  breaks  that  John 

Boles  does. 
Photo  by  Auttey 


While  Talent   Goes   Begging 


19 


hard  rime   finding   one  of   Tryon's   pictures   in   a 
-run  house, 
casionally  producers  do  what  they  can  for  a 
player  and   yet,    for   one   reason   or   another,   the 
public  doesn't  take  to  him. 

lowing  his  screen  work  in  "The  Desert  Song" 
and  "Rio  Rita,"  John   Holes  became  one  of  the 

current  hits  of  the  cinema. 

J.  Harold  Murray,  who  sang  the  lead  in  'Rio 
Rita"  on  the  New  York  stage,  is  fully  as  handsome 
ami  sings  just  as  well  or  better. 

Mr.  Boles  goes  blithely  from  picture  to  picture, 

.ting    an    ever-increasing    public,    while    Mr. 

Murray,  who  is  one  of  the  best-liked  men  on  the 

lot,  has  failed,  for  some  reason,  to  strike  the 

popular  appeal  oi  the  public  at  lar^e. 

Another  case  in  point  is  that  ^i  Baclanova  ami 
Marlene  Dietrich. 

The  fiery  Russian  swept  the  country  like  a  white 
flame.  Reviews  of  her  work  were  seldom  couched 
in  terms  less  than  superlative,  hut  she  was  let  out 
by  her  studio  and  little  has  been  heard  of  her 
since. 

recently  played  small  parts  in  "Cheer  Up 
and  Smile"  and  "Are  You  There?"  hut  the  glamour 
that  was  once  attached  to  her  name  is  gone.  And 
through  no  fault  of  her  own. 

Yet  the  same  company  who  found  no  use  for  her 
services,  brings  over  an  unknown  in  Marlene 
Dietrich  and  spends  time  and  money  in  an  < 

1  her  for  the  same  type  of  roles  that 
Baclanova  was  already  playing  to  the  entire  satis- 
faction of  a  large  and  growing  puhlic. 

Beauty  may  he  only  skin  deep,  hut  there's  always 
a  large  and  ready  market  for  first-class  cutick 

Eddie  Nugent's  reputation  built  on  only  small  parts 
attests  his  ability  for  greater  ones. 


by 

Leila   Hyams   dethroned   Anita    Page   as   the    reigning   blond 

ingenue. 

maybe   I   should   say   there   usually   is — and   if    there    isn't, 
there  should  he. 

Anita  Page  came  West  with  hair  as  golden  as  a  Tintex 
ad  and  a  smile  as  brilliant  as  any  seen  in  tooth-paste 
advertisements. 

Certain  captious  critics  were  not  entirely  pleased  with 
her  acting,  hut  one  can't  have  everything,  and  most  of  us 
were  satisfied  just  to  look  at  her.  Her  photos  greeted  you 
in  great  profusion  in  every  magazine  you  picked  up. 

But  suddenly  one  began  reading  announcements  of  Anita 
heing  cast  in  supporting  roles  and  parts  of  small  conse- 
quence while  Leila  Hyams,  a  blonde  of  equal  pulchritude, 
hut  no  greater  histrionic  ability,  got  the  roles  that  had  erst- 
while been  handed  to  Anita.    You  figure  it  out. 

And  while  on  the  subject  of  beauty  and  brains — pardon 
me,  we  were  only  talking  of  beauty,  weren't  we?  -there's 
the  strange  ca  I  atherine  Dale  Owen. 

There's  no  gainsaying  her  looks,  hut  her  impersonations 
are  never  of  a  kind  to  cause  Bernhardt  or  Duse  to  roll  over 
in  their  graves.      In    fact,   if  a  collection  of   worst 

•  ver  been  garnered  by  one  actress,   I   have  never 
them. 

Yet    she  goes    from   part    to   part,    from   studio  to  sludio, 
ring  roles    for  which  most   actresses   would  give  ten 
of  their  live-.      Her  -alary  i-  out  of  all  proportion  to 
either  her  looks  or  her  ability. 

Virginia  Bruce,  a  blonde  equally  exquisite  and  pictorial, 
ing  probably   a  tenth   of   the   -alary    Mi--    I  I 
mands,  |  in  bits  and  mob 

When  Clara  Bow  burst  like  a  forest  bre  on  the  land- 
predictioi  rife   that    there   would    i  Other 

her.     Tl  n't    for  a  long  time. 

117 


20 


Elinor  Barton,  above,  is  per- 
fectly satisfied  to  wear  an 
afternoon  ensemble  of  brown 
Elizabeth  crape  trimmed  with 
beige  fox,  in  which  the  new 
bell-shaped  sleeves  are  con- 
spicuous and  guaranteed  not 
to  get  mixed  up  with  the  tea 
tilings,  if  one  is  careful. 


Tlylab  Slocum,  right,  is  quite 
happy,  too,  in  her  simple,  but 
oli,  s<>  smart,  trifle  of  black- 
and-white  checked  silk,  with 
blouse  of  white  crape-  and 
suspender  ^kirt.  It  is  all  se- 
ductively simple,  but  try  to 
it  ' 


OHke  Smart 

Since   clothes   are   the   sin   qua   non   of    feminine  well- 
simple   than   to   follow  the   example    of   the   ladies   on 


Sumptuously  Fay  Perre, 
right,  displays  a  gown  so 
gorgeous  that  it  lias  a  name 
— "Wildflower."  This  is  be- 
cause it  is  of  geranium  hue 
and  measures  fifteen  yards 
around  the  bottom,  with  seed 
pearls  strewn  here  and  there 
and  glistening  among  the 
huge  cluster  of  simulated 
flowers  at  the  side. 


Girlish  grace  is  the  keynote 
of  the  costume  worn  by 
Marion  Shilling,  below,  right, 
of  aquamarine  flat  crape, 
embroidered  Swiss  collar 
and  linen  shoes.     Sweet  ! 


,       ^ 


V  i 


Tiling  to  Do 

being,  peace  of  mind,  happiness  and  success,  what  more 
this  page,  all  of  whom  are  seen  in  "On  Your   Back"? 


2] 


Janel  (  handler,  above,  is  one  of  those 
garden-party  «irK  who  float  over  the 
lawn  and  transform  a  warm  afternoon 
into  a  cool  shower  of  roses.  Her 
airy,  fairy  gown  is  of  pink  net  Over 
orchid  transparent  velvet 


Irene  Rich,  left,  star  of  "On  Your 
Back,"  plays  the  role  of  a  famous  mo- 
diste whose  creations  are  in  reality 
Ihe  \vrk  of  Sophie  VVachner,  one  of 
Hollywood's    leaders    among    the    de- 


n  Lynn,  left,  is  beautiful  enough 
not  to   need  any   nidi   finei 

n  of 
personalit 
her  l>it  in  this  ravishing  tiif)it  of 
trhich 
mIs  of  rl 
to  fall 


22 


Fifteen  Hats  at  Once 

Lillian   Roth  is  all  youthful   enthusiasm,  finding  a   thrill    in   buying    chapeaux    in   wholesale    lots,   wor- 
shiping at  the  shrine  of  Lillian  Gish  and  bemoaning  the  fate  that  causes  her  to 
irritate  unintentionally   those  she  wishes  to  please. 


B>?  Helen  Klumpk 


t    Itkhco 


YES,"  a  warm,  lush  voice  assured  me  over  the  phone 
when  I  asked  if  I  were  speaking  to  Lillian  Roth,  "I'd 
love  to  be  interviewed.  But  I  have  a  much  better  idea. 
Let's  go  to  see  Lillian  Gish's  play.  I  can  get  tickets  for 
to-morrow  night." 

Oh,  well,  the  world  is  full  of  surprises. 

I  could  easily  imagine  interviewing  the  blues-singing  dimin- 
utive Roth  while  a  phonograph  blared  jazz  tunes,  or  chat- 
ting with  her  in  Sardi's  or  the  Algonquin,  while  a  parade  of 
song  writers,  press  agents,  and  revue  producers  paused  to 
inquire  "What's  new?    What  do  you  know?" 

Or  pausing  at  her  table  in  a  night  club,  while  she  rem- 
inisced from  the  vantage  point  of  nineteen  years  about  the 
good  old  days  when  she  was  fifteen  and  hey-heying  with  the 
rest  of  the  sun  dodgers.  But  Roth  at  the  most  delicate  and 
finely  wrought  play  of  the  season?  And  from  choice?  What 
was  this? 

It  was  a  simple  case  of  a  fan  sitting  at  the  feet  of  her 
idol.  And  two  personalities  more  utterly  unlike  each  other 
you  cannot  imagine.  Lillian  Gish,  the  exquisite  and  gentle ; 
Lillian  Roth,  a  dynamo  of  nervous  energy  and  youth. 

If  you  take  a  hasty  glance  at  the  career  of  Lillian  Roth, 
you  will  get  all  sorts  of  ideas  about  what  she  ought  to  be  like. 
On  the  dramatic  stage  at  the  age  of  five ;  Broadway  engage- 
ments in  such  successes  as  "Shavings" ;  vaudeville  tours 
where  she  picked  up  blues  singing,  and  for  a  while  played 
straight  for  her  precocious  little  sister  Ann ;  a  formidable 
night-club  entertainer  at  fifteen ;  her  name  in  lights  as  a 
featured  player  in  the  "Vanities" ;  then  musical  films ;  a  hit 
in  "The  Love  Parade" ;  a  fine  dramatic  part  in  "The  Vaga- 
bond King,"  and  on  to  bigger  and  better  roles. 

My  guess  about  her  was  wrong.  I  thought  she  would  be 
brittle,  weary,  and  given  to  wisecracks.  And  I  found  her 
just  young — young  with  all  the  appeal  of  fresh  enthusiasms. 

She  gets  equally  thrilled  over  playing  with  Chevalier,  buy- 
ing fifteen  hats  at  once,  looking  forward  to  living  in  a  house 
with  a  real  yard  for  the  first  time  in  her  life,  and  dodging 
through  New  York  traffic  on  foot. 

"Mamma's  afraid  to  live  in  a  house.  She  has  always  lived 
in  hotels  and  apartment  buildings.  She  likes  to  hear  cars 
driving  up  all  night  and  know  that  there  are  lots  of  people 
around  her.  California  is  getting  me,  though.  I  want  one 
of  those  cute  houses  up  in  the  hills,  with  gardens  all  around." 

As  we  sat  in  the  theater  waiting  for  the  curtain  to  go  up, 
our  talk  got  nowhere.  She  wanted  to  talk  about  Lillian 
Gish.     I  was  probing  for  the  individuality  of  this  Roth  girl. 

"I  was  so  glacl  when  the  reviewers  raved  about  her."  The 
throat}-,  mature  voice  on  my  right  was  a  strange  contrast 
to  her  eager  eyes. 

"If  this  audience  isn't  enthusiastic,  I'll  go  crazy.  I  guess 
I've  read  every  line  abont  her  that  was  ever  printed.  She  is 
so  different.  I  wish  we  were  sitting  right  on  the  edge  of  the 
stage.  Movies  have  spoiled  me.  I  want  to  see,  every  flicker 
of  an  eyelash." 

When  Lillian  Gish  drifted  on  the  stage  and  exited,  merely 
trailing  behind   the   old    professor   who   is   her   husband    in 

Though    Lillian     Roth  "Ullcl,e    ^^  7%  ,  C0^°n 

is     only    nineteen,     all  SasPed'      They  chdn  t  bu.ld  up  an 

but  four  of  her  years  entrance    for  her.      The    audience 

have  been  lived  on  the  didn't  know  she  was  coming.   That 

stage.  isn't  right." 


Fifteen   Hats  at  Once 


Broadway 
night  clubs 
were  in  an  up- 
roar  ovci 
Lillian  when 
she  was  fif- 
teen. 


As  the  play  wont  on,  her  tenseness  rel 
Chekhov,  with  the  aid  of  an  expert  group  of 
rho  were  content  to  merge  their  identi- 
in  a  humdrum  but  gripping  drama  of  dull- 

came 
where   3  sh  is  raised  I  aPP'" 

only  to  wilt  in  a  moment.    The  Lillian  at 
my  side  gasped.     When  the  lights  went  01 
was  irs. 

"( >h,  why  don't  the  audienc  tnething  ? 

It   isn't   fair.     They'll   never  see  anythii 
man  -  that  again  in  their  lives.     She 

didn't  have  to  move  or  make  a  sound,  and   it 
-  like  a  thunderbolt. 

"It   isn't    fair  at   all,"   she   went   on   a    little 

E  composedly.     "Some  girl  like  me  comes 

out  and  stamps  her  feat  and  yells  'Hey!  hey!' 

and  people  think  she's  good.     They  can't  mi>s 

you  when  you're  throwing  everything  in  their 

s.     But  look  at  her.     She  doesn't  have  t" 

a    singk  rick,    and   you    can't    take 

-     BE  her. 
she  shouldn't  he  playing  such  a  small  part. 
She  ought  to  have  a  play   written  around  her 
and  have  all  the  big  scen<  -      She's  a  real  star." 

Indignation  growing 

and  it  reached  its  height  when 

we  paused  outside  and  glanced 

at  the  billing.     The  name   of 

was  no  1  than  the 

shouldn't    stand    for 
that " 

"It's  what  she  wanted."  T 
ventured.  "She  didn't  want 
to  be  exploited." 

Roth  shook  her  head  in  be- 
wilderment. 

"It  makes  me  sick.     Maybe 
she  doesn't    like   brass  hands, 
but  it   is  about  the  only 
-:cce-s  in  the 
show  busint 

She    was    subdued 
she  rode  home  with  me, 
trying  to  puzzle  out  the 
choice    of    quiet    esteem, 
rather  than  blaring  suc- 

" Maybe  I'll  go  back  on 
the  stage  some  time."  she 
told  me.  "I'd  rather  he 
a  success  in  pictures,  hut 
all  so  confusing.  I 
don't  know  where  I  am 
getting.       Sometimes    at 

studio  they  act  as 
they  liked  me,  hut  most  of  the 
time  I  am  in  bad  and  I  don't 
know  why. 

"My  first  part — in  'The  Love 
Parade' — came  near  breaking 
my  heart.  I  wanted  to  he  a 
dramatic  actress,  and  I  v 

1  comic.     Then  I  had 
a  part  €  loved  in  'The  \ 
bond    King,'  and   while    I 
■     " 

red    me    and    the 
d  me  light!] 

And    I    wanted 
in  that  pictu: 


artistic    triumph    fills    Miss    Roth    with    awe,    but    she 
prefers   the  more   obvious   rewards  for  herself. 

"The  studio  sent  me  on  a  personal-appearance  tour 
when  I  needed  a  rest.  Told  me  1  would  do  two  shows 
a  day.  and  I  had  to  do  six  and  some  radio  appearance-. 
Rut  did  any  one  thank  me  for  being  a  good  sport  about 
it?     They  did  not. 

"Just  before  I  came  East,  I  was  under  a  big 
black  cloud.  The  people  at  the  studio  accused  me 
of  temperament      Is  this  temperament? 

"They  wanted  me  to  sing  over  the  radio  one 
night.  I'd  been  working  for  DeMille,  and  when 
you  work  for  him  you  work  until  you're  almost 
ready  to  drop.  I  got  to  the  radio  station  an 
hour  ahead  of  time  to  rehearse,  and  there  was 
no  one  there.  They  arrived  just  five  minutes 
before  I  Wi  on  the  air,  handed  me  a  new 

■  and  expected  me  to  sing  it.     They  wouldn't 
'    me  a  room  to  rehearse  in.  until   I   threat- 
to  walk  out.     What  else  could  I  do? 
"I'm  trying  hard  to  please  them  at  the  studio,  but  I  don't  I 
how.    I've  gathered  that  it  isn't  my  work  in  pictures,  but 
thing  about  me  that  irritates  them.     What  do  you  Btippo 

I  had  only  a  faint  idea  and   I  didn't  know  how  to  explain  it. 
It   has  always  been   a  miracle  to  me   that   young   v 

'i  to  be  players  can  also  he  tough  enough  to  stand  the 
runaround  they  get  in  a  studio.     Stud 

ready  to  leap  on  any  show  of  self-importance  or  v. 
:i  a  new  player,  particularly  om  the 

ly  to  detect  a  1  ration  tl 

whip  in  many  instant 

ali<  r  wanted  Lillian  for  the  lead  in  his 

frolickin 
It  looks  to  me  like  bar  line. 


21 


Razzberries  for  Our  Hero 

Hollywood  people  are  likely  to  give  the  haw-haw  to  Ferdinand  Frimple,  the  virile  adventurer  of  the 
South  Sea  film,  when  he  is  known  off-screen  as  a  timid    neighbor   who   trembles    at   his   wife's    frown. 


By  Carroll  Graham 


Illustrated  by  L>ui  ^rugo 


THERE'S  a  certain  amount  of  entertainment  con- 
nected with  attending  a  movie  in  a  neighborhood 
theater  in  Hollywood  not  to  be  found  in  the  rest 
of  the  world. 

To  the  outer  world,  the  faces  of  the  many  hundreds 
of  actors — excepting,  of  course,  the  Gilberts,  Bows, 
Bancrofts,  and  other  famous  stars — are  familiar,  but 
their  identity  is  unknown.  Exterior  scenes,  too,  are 
entirely  strange  to  those  millions  outside  Hollywood. 

Hut  all  that  is  different  when  one  goes  to  the  movies 
in  the  picture  city  itself. 

The  random  conversation  one  is  likely  to  hear  floating 
up  in  the  dark  as  the  film  unreels  itself  is  very  often 
engaging,  humorous,  and  revealing.  For  the  audiences 
are  lull  of  actors,  cameramen,  assistant  directors,  secre- 
taries, electricians,  and  all  the  hundred  and  one  varieties 
of  studio  workers.  Present,  too,  in  those  audiences,  are 
neighbors  of  the  players  and  of  the  workers  behind  the 
screen.  They  see  them  every  day,  see  the  stars,  see  the 
exterior  scenes  being  filmed  on  the  streets. 

They  are  familiar  with  every  favorite  location  spot  of 
the  studios  in  the  Hollywood  area — Lasky  Ranch,  which 
is  the  scene  of  many  a  Western  drama,  Calabasas,  which 
can  readily  become  prairie,  Chatsworth  Lake,  secluded 
nooks  in  Griffith  Park,  and  the  Hollywood  hills. 

Then,  too,  they  have  been  hearing  gossip  about  these 
pictures  during  the  months  of  their  preparation  and  film- 
ing. They  know  the  difficulties  and  peculiarities  of  the 
labor  of  producing  canned  entertainment. 

Let  us  examine  a  typical  evening  in  a  movie  theater  in 
Hollywood,  the  Iris,  for  instance,  near  Hollywood  Boule- 
vard and  Cahuenga,  the  Granada,  on  Sunset  near  Gard- 
ner Junction,  or  any  one  of  a  dozen  others. 


One  overhears 
sadly  disillusion- 
ing tales  of  the 
players'  home 
life  in  the  neigh- 
borhood cinemas. 


"Fluttering  Hearts"  is  the  title  of  the  picture  to  be 
shown.  After  enduring  news  reel  and  comedy,  the 
audience  settles  back  to  await  developments,  with  a  criti- 
cal eye.    The  credit  titles  start  to  reel  off. 

"Original  Story  by  Henry  Winchett." 

"Can  you  imagine  that?"  comes  a  voice  from  behind 
us.  "Winchett  didn't  write  that  story  at  all.  It  was  Joe 
Beamish  who  really  started  it.  Winchett  stole  the  idea 
and  ran  and  sold  it  first." 

"Adapted  by  George  Fishley." 

"Well,  well,  so  old  George  is  working  again,"  com- 
ments a  man  in  the  next  row.  "He's  been  broke  for 
months.  Wonder  how  he  managed  to  crash  in  on  that 
job." 

"I  know,"  says  the  woman  sitting  next  to  him.  "He 
owed  the  studio  manager  about  six  hundred  dollars,  and 
he  had  to  give  him  a  job  in  self-defense." 

"Photographed  by  William  Willy." 


"I  didn't  know  he  worked  for  that  studio,"  the  man 
next  to  us  whispers  to  his  companion.  "I  thought  he 
was  over  at  Stupendous  Pictures." 

"Yeah,  he  zvas,"  is  the  reply,  "but  he  got  tight  one 
night  and  didn't  show  up  for  two  days,  so  they  canned 
him." 

The  picture  begins. 

It  is  a  drama  of  the  South  Seas,  mayhap,  with  that 
virile  he-man  of  the  screen,  Ferdinand  Frimple,  in  the 
starring  role  of  a  rough-and-ready  sailor.  The 
opening  scene  shows  him  standing  on  the  bridge 
of  his  freighter,  looking  as  virile  and  he-mannish 
as  it  is  possible  for  a  timid  and  henpecked  husband, 
whose  main  delight  is  working  in  his  garden,  to  do. 
"He  lives  next  door  to  me,"  whispers  a  stout 
housewife  to  her  neighbor.  "You'd  never  know 
he  was  an  actor.  So  quiet  and  well-behaved.  But 
that  wife  of  his!" 

"Get  a  load  of  Ferdie  being  a  he-man,"  snickers 
an  assistant  cameraman.  "My  seven-year-old  son 
could  lick  him." 

They  come  to  a  rock-bound  coast.  The  ship 
does,  that  is  to  say. 

"Deserted  island  my  eye,"  says  some  one  in  the 
dark.  "That's  taken  just  off  Laguna  Beach.  I 
drove  down  past  there  last  Sunday." 

A  forlorn  and  lonely  beach  comes  into  view. 


Razzberries  for   Our  H 


ero 


25 


"That's  a   rotten  piece  of   photography,"   the 

cameraman  comments.     "Willy  must  have  been 
sick  when  he  shot  that." 

What    ho!       A    shipwrecked    party!       Virile 

Ferdinand  cries  out  to  his  hearties  to  tie  up,  or 

whatever  you  do  to  a  ship.      The  hearties  launch 

owboat,  and  in  so  doing  expose  themselves 

to  the  audi  crutiny. 

"There's  that  big  ham  that  lives  in  the  apart- 
ment   nexl    to    mine."    says    a    flapper.      "Lord, 
-hould  hear  the  part; 

"Yes,  and  get  that  other  guy  with  the  heard. 
}\v'>  always  at  the  club,"  says  an  actor.  "He's 
owed  me  twenty  hucks  tor  the  last  eight  months." 

The  rescuers  are   in   the  nick  of  time,   it   ap- 
pears.    The  shipwrecked   party   has   run   out   of 
.isions,  and.  in  addition,  the  villain  is  being 
remely      unpleasant      toward      the      captain's 
daughter,  a  beautiful  lady. 

"Who  is  that  girl?"  asks  a  voice. 

"Tha  lly  Masthaum."  he  is  answered. 

"Aw.  you're  crazy.     Molly's  a  brunette." 

"She's  wearing  a  wig.  you  dope.  The  studio  makes 
her  wear  one.  because  it  makes  her  look  younger." 

"That  reminds  me."  says  some  one  else,  "1  saw  Molly 
on  the  Boulevard  the  other  day  with  that  young  actor 
Stupendous  brought  out  from  New  York,    'is  she  run- 
around  with  him  now?" 

"Sure.    They  go  everywhere  together." 

"What  does  her  husband  think  about  tha: 

"Aw  !  she  gave  him  the  air.  He's  playing  around  with 
that  little  dame,  that  red-headed  one  who  lives  at  the 
Studio  Club." 

Rack  to  the  picture.  Virile  Ferdinand  Frimple.  stand- 
ing in  the  prow  of  the  longboat,  a  la  George  Washington 
on  the  Delaware,  leaps  onto  the  sands.  He  is  quite  wel- 
come. The  captain,  an  elderly  gentleman  who  runs  a 
hat  store  on  Hollywood  Boulevard  when  he  is  not  acting, 
is  having  quite  a  time  making  the  villain  keep  his  hands 
off  the  ingenue. 


The  ferocious 
cannibals  that 
thrill  the  kids  in 
Iowa  are  only 
shoe-shine  boys 
to  Hollywood 
folk. 


"He's  owedme 
twenty  bucks 
for  the  last 
eight  months," 
somebody  says 
of   the   villain. 


Ferdinand  darts  toward  the  villain  as  menacingly  as 
sible. 

"Don't  tell  me,"  groans  a  scenario  writer  down  in 
front,  "that  they're  going  to  stage  a  fight  between  poor 
Ferdie  and  that  big  moose." 

"Ain't  it  a  pip?"  says  his  escort.  "And  Bull  Hag- 
gerty,  that  heavy,  used  to  be  a  prize  fighter,  too." 

They  do  intend  to  stage  it.  however,  and  just  as  you 
may  have  guessed,  Ferdie  triumphs  temporarily,  knock- 
ing his  adversary  stiff  with  a  faked  blow  that  a  mosquito 
could  withstand. 

"Well,"  says  the  scenario  writer.  "I'm  ready  for  anv- 
thing  now.  I  won't  be  surprised  if  Rahv  Peggy  plays 
Hamlet  any  day." 

The  plot  begins   to   develop   complications.      Sa . 
appear.     At  least  they  arc  savages  to  the  world  at  large. 
But  not  to  the  discerning  eye  of  Hollywood. 

"There  are  those  three  Hawaiians  who  play  ukuleles 
at  that  restaurant  on  Sunset  Boulevard,"  we  are  in- 
formed by  an  unidentified  voice. 

"Yes,  and  that  fourth  one  is  the  bootblack  in  the 
barber  shop  on  Vine  Street."  some  one  else  adds. 

The  three  Hawaiians  and  the  bootblack,  looking  very 
ferocious,  wave  beckoning  hands  to  a  horde  of  respec- 
table colored  residents  of  Central  Avenue,  the  Harlem 
of  Los  Angeles.  The  cannibals  charge  ,  hut  fearless 
Ferdie  halts  them  by  firing  three  blank  cartridges  into 
their  midst  from  an  automatic  he  providentially  has  with 
him.  The  savages  retreat,  and  the  party  of  forlorn 
whites  start  running  to  the  ship.  But  a  storm  comes  up, 
and  for  some  inexplicable  reason  they  decide  to  stay  on 
the  island,  probably  so  the  plot  will  not  bog  flown  while 
the  picture  i^  but  half  over.  They  take  shelter  in  an 
abandoned  grass  hut. 

"That's  that  old  set  down  in  the  river  bottom  on  the 
Lasky  Ranch,"  a  voice  announces.  "That  thing  was 
built  five  years  ago,  and  they're  •-till  using  it." 

"Yes,"  his  friend  agrees,  "Willy'd  better  he  careful 
with  his  camera  angles,  or  he'll  get  the  First  National 
studio  in  the  background." 

"I  wouldn't  he  surprised,"  he  is  answered.  "How 
Willy  ever  gets  a  job  is  beyond  m< 

Aha!  On  the  screen  there  i^  villainy  afoot.  In  the 
dead  of  night,  the  bewhiskered  heavy  who  owes  the 
actor  in  tin-  audience  twenty  dollars,  plots  devilment. 
Apparently  he  doesn't  like  being  so  easily  vanquished  by 
the  timid  Ferdinand,  and  prepares  to  Bteal  the  goil  and 
heat  it  back  to  the  boat.  In  fact  In-  doefl  SO.  But  the 
elderly  captain,  who  had  inexplicably  managed  to  remain 

tilllll  (I      r,|l      |, ,,(...        1  1J 


20 


Synopsis   of   Preceding 
Installment. 

JANE  HAGGERTY,  a 
Nebraska  girl  who  has 
d  <mi  the  Spanish  island 
of  Majorca  for  years,  is 
given  a  screen  test  by  Larry 
Bishop,  a  news-reel  man, 
which  wins  her  a  role  in  a 
film,  hut  she  must  pose  as 
Spanish.  She  is  named 
Carmen  Valencia,  and  is 
feted  by  the  studio  when 
she  arrives  in  New  York. 
She  studies  to  improve  her 
Spanish  and  murder  her 
English,  and  is  putting  the 
deception  across.  A  direc- 
tor invites  her  to  his  apart- 
ment, and  his  wife  appears 
unexpectedly,  creatine 
scene  that  causes  Jane  to 
forget  her  accent.  She 
goes  to  the  Coast  under  the 
guidance  of  a  woman  from 
the  Eastern  office,  and  her 
reception  overwhelms  her. 
She  hopes  Larry  will  come 
from  abroad  to  see  her, 
though. 


PART    II 

JANE  stepped  off  the 
train,  cast  a  horri- 
fied glance  at  the 
mob  awaiting  her,  and 
wished  that'  she  were 
anywhere  but  in  Los 
Angeles,  California. 
(  Hi,  why  hadn't  she  had 
sense  enough  to  stay  in 
-Majorca,  dull  though  it 
was  ? 

Trembling,  she  faced 
a  battery  of   cameras,  three  laconic  newspaper  men,  a 
press  agent,  an  interpreter,  and  a  disgusted  crowd  who 
had  thought  they  were  about  to  see  either  the  result  of  a 
frightful  accident  or  Mary  Pickford. 

The  interpreter,  a  greasy  little  man,  leaped  forward, 
clutched  her  arm,  leaned  his  face  close  to  hers,  and  smiled 
into  the  cameras.  The  newspaper  men  looked  her  over 
approvingly  and  asked  a  few  questions,  which  she  was 
too  frightened  to  answer.  The  press  agent,  Tim  Bowen, 
of  Superba,  thrust  a  thorny  bouquet  into  her  arms,  and 
said  they'd  better  get  going. 

Jane  wrenched  herself  from  the  clutches  of  the  inter- 
preter and  let  herself  he  led  to  a  limousine,  trying  not 
to  hear  the  murmurs  of  the  crowd.  People  pressed 
close  about  her;  somebody  said  she  was  Dolores  del  Rio 
and  somebody  else  said  she  wasn't,  that  she  was  that 
woman  who'd  bumped  off  her  husband  the  other  day 
and  escaped  to  Mexico.  Tt  was  an  October  day.  so  hot 
that  Jane  felt  as  if  the  air  were  burning  her  lungs  every 
time  she  breathed.  She  was  carrying  the  mink  coat  she 
had  bought  in  New  York  under  the  impression  that  no 
star  is  complete  without  one.  She  was  also  carrying  a 
leather  case  which  she  hoped  people  would  believe  con- 
tained jewels,  hut  which  really  contained  the  large  quan- 
tity of  chewing  gum  which  was  to  compensate  her  for 
her  \rars  without  that  delicacy. 

"Why  don't  you  hoys  come  along  up  for  a  drink?" 
Bowen  hospitably  asked  the  reporters.  "Then  you  can 
talk  to  Miss  Valencia — Senorita,  I  mean — in  peace.  We 
— go  home,"  he  added  to  Jane,  speaking  loudly  and 
distinctly.     "Understand  ?" 


"We've  had  too  many  Spanish  now — public's  tired  of  'em," 


Bab 


es  in 


Whisked    out    of   a   quiet    Spanish    island    retreat, 
in  the  dizzy  whirl  that  is  Hollywood,  where  she 


By   Inez   Sabastian 


The  interpreter  promptly  hurst  into  explanations  in 
Spanish.  Jane  pushed  him  aside,  all  but  overwhelmed 
by  the  scent  of  garlic  and  cheap  perfume  which  tainted 
the  immediate  atmosphere. 

"Of  course  I  understand,"  she  exclaimed.  "I  speak 
your  language,  seiior ;  I  am  taught  that  it  is  polite  to 
speak  ze  language  of  ze  country  where  one  visits." 

"Thank  Heaven!"  Bowen  ejaculated   fervently. 

Jane  got  into  the  limousine,  reflecting  that  she  should 
have  said  "onnerstan'."  She'd  have  to  practice  mangling 
her  English  as  well  as  brushing  up  on  her  Spanish.  And 
Miss  Burt  had  tried  to  give  her  English  lessons  on  the 
train  ! 

"And — I  no  need  interpreter,"  she  told  Bowen  when 
she  was  crowded  into  the  car  with  the  newspaper  men, 
Miss  Burt,  and  him.  The  greasy  little  man  was  riding 
in  front  with  the  chauffeur,  much  to  his  disgust.  "I 
speak  myself  to  all." 

"I'm   afraid   you'll   have   to   pay   him   just   the   same," 


27 


declared  Mrs.  Markham,  by  way  of  dispelling  Jane's  hopes  of  success 


Hollywood 

Jane  Haggerty,  a  girl  from  Nebraska,  finds  herself 
is  heralded  as  a  star  and  neglected  the  same  day. 


Illustrated  by  Xniii  IsJright 

Bowen  told  her.    "He  was  engaged  for  six  weeks.    Now, 
what  do  you  think  of  Los  Angeles,  sefiorita?" 

Jane  couldn't  remember  what   Larry  had  told  her  to 
say.     Oh.  why  hadn't  he  come  with  her!     It  wasn't  fair 
for  him  to  hurl  her  headlong  into  the  midst  of  these 
pitfalls,  and  then  remain  serenely  on  the  other 
the   Atlantic! 

She  was  appalled  by  her  first  sight  of  her  new  home. 
It  was  of  pink  stucco,  and  looked  as  if  the  architect  had 
changed  his  mind  several  times  while  designing  it.  It 
erupted  into  balconies  and  gables,  it  sprawled  over  tin- 
ground  as  if  made  of  jelly  that  hadn't  quite  congealed. 

"This  house  belongs  to  one  of  our  director-."   B 
explained.     "He   felt  that  you   would   be  happier   in   a 
Spanish  home,  so  he's  giving  it  up  for  you  while  you're 
hen 

od,  fat  rental.  I'll  bet."  one  reporter  remarked. 
Jane  turned  cold   with  \fter   all.    four  hundred 

dollars  a  week  wasn't  such  a  lot  of  money,  and  if 


had  t<>  pay  that  awful 
interpreter  ami  buy 
more  clothes  ami  en- 
tertain, it  wouldn' 

Inside,     the     house 
was    even    worse    tlian 

without.     The  plaster 

walU  of  the  dining 
room  were  marked 
w  ith  niches,  from  each 
of    which    gazed    a 

tinted     plaster     StatUC 

"Saints."  announced 

Bowen,    but    Jane    did 

not  believe  him.  They 
1  more  like  car- 
toons of  the  famous 
ami  infamous  person- 
ages of  the  screen. 

The  unusuall)  large 
living  room,  two  Mo- 
rics  high,  had  cathedral 
windows,  with  trailing 
curtains  of  red  vel- 
vet. There  were  high, 
carved  chairs,  and  low 
carved  chairs  and  ta- 
bles and  benches  and 
a  piano,  also  carved. 
There  were  wrought- 
iron  gates,  Opening 
into  the  hall,  that 
clanged  behind  one 
with  all  the  cheerful 
sound  of  prison  door-. 
lane  sank  into  what 
looked  like  a  comfort- 
able chair  but  wasn't, 
and  tried  to  think  of 
something  to  say  to 
the  newspaper  men.  But  they  weren't  interested.  One 
lifted  his  arm.  elbow  crooked,  and  Bowen  took  the  hint 
and  suggested  that  they  go  to  the  dining  room. 

The  gates  clanged  behind  them,  and  clanged  again 
behind  a  new  arrival.  A  huge,  lugubrious  woman,  dour 
of  face,  stood  gazing  mournfully  at  Jane. 

"I'm  Tilly   Markham."  she  announced  in  a  voice  that 
made   Jane   look   a   second   time   to   be   sure   she   wasn't 
Za-u  Pitts  in  one  of  her  most  plaintive  moments.     "I'm 
your  chaperon.    Not  that  a  chaperon's  much  good  to  the 
kind  as  needs   'em.      But   'tisn't   likely   you  can   get   into 
much  trouble  in  six  weeks." 
Jane  straightened  up  haughtily. 
"Superba  has  an  option   on   my   services  after  tl 
-lie  said. 

Mrs.  Markham  sniffed. 

"Yeah,  I  know  those  options."  -he  retorted.  '  T  I 
had  a  nickel  for  every  one  that  hasn't  been  took  up.  I 
c'd  hire  Chaplin   for  my  butler!     Now,  we'll  have  din- 

ner  at  six " 

"At  eight,"  Jane  cut  in.     "I  dine  at  eight." 
Mr-.    Markham's    face    showed    no    sign    ti 
heard. 

"At   six."   she  repeated.      "Spare   ribs  and   saueH 
Bet  you  ain't  never  el  'em.     Do  you  good  to  tr\ 
can   food." 

lam-  ro~r.  smiling  :  spare  rib-  and  kraut  had  been  her 
father'-   favorite  dish. 

"I'll  have  a  bath  now  announced.    "At 

I  )o  not  al'ow  v.:\    I   am  disturb." 


28 


Who's  Afraid? 


Not  these  dare-devils,  with  their  unusual  pets 
of   the  moment. 


Irene  Rich,  above,  ever  a  doting  mother, 
utters  a  new  playmate  to  her  daughters, 
Jane,  left,  and  Frances,  but  the  girls  look 
higher  than  a  bullfrog  for  companionship. 

Phyllis  Crane,  right,  grasps  a  wriggling, 
clammy  frog  as  if  she  actually  enjoyed  it, 
but  surely  Phyllis  can  give  her  touch  to 
something  more  akin  to  her  own  sweetness. 

Polly    Ann   Young,   below,    isn't   afraid   of 

mice,  nor  is  Carmelita  Thaw,  upper  right, 

wary  of  snakes. 


John   Mack   Brown,   above,   like  a 

regular  cowboy,  "adopts"  a  horned 

toad    from    its    native   Tiabitat,    the 

desert. 


29 


A  Tintype 
Heritage 

Walter  Huston's  family  used  to  pose  like 
regular  actors  for  snapshots  back  when  the 
folks  combatted  life  with  the  plow  and 
hoe.  Take  another  look  at  your  family 
album  after   reading   this  article. 

By   Margaret  Reid 

THEATRICAL  lineage  is  nol  a  question 
of  antecedents  on  the  stage.  Walter 
Huston  is  the  first  actor  in  His  family, 
but  be  comes  of  a  long  line  of  Thespians 
people  who,  he  contends,  would  have  graced 
the  l>oards  to  advantage  had  circumstances  been 
different.  Born  to  the  soil,  they  accepted  the 
plow,  the  churn,  the  hoe,  as  their  predestined 
weapons  of  comhat  in  life.  Had  they  lived  just 
a  hit  closer  to  cities,  or  had  there  been  movies 
to  furnish  contact  with  the  theater,  the  foot- 
light  fame  of  the  Hustons  would  have  begun 
g  before  Walter. 

"When  I  went  home  for  a  visil  last  sum- 
mer." he  said.  *I  found  a  tintype  of  my  uncle 
Tom.  a  picture  taken  when  he  was  about 
twenty.    Instead  of  the 


Mr.  Huston's  Abraham 
Lincoln  is  expected  to 
be  the  best  record  of 
the  Emancipator  yet  to 
reach  the   screen. 


frozen,   awed    rigidity 

you  nearly  always  find 
in  tintypes,  he  had  ob- 
I  himself. 
And  with  an  air.     Xo 
front   view  of   glazed 
fastened    on    the 
hut  a  profile,  his 
hat  tilted  just  enough 
to    be    dashing,    chin 
resting    carelessly    on 
graceful    hands.     The 
I  was  hardly  short 
of  a  Booth.     And  in 
those  days,  outside  of 
rials,    it    took 
inbred  genius  to  look 
natural   in   front  of  a 
camera,    and    in    spite 
of  the  photographer's 
otyped  met' 
With   the   blood   of 
all  the  thwarted  Uncle- 
Toms  of  the    Hi 
in    his    veil 
inevitable    that 
young   Walter   should 
actively    manifest    the 
theatrical    urge    when 
direct  contact  with  the 
finally  occurred. 
He   was   horn   in   To- 
ronto.     His    first    at- 
tendance at  a  play  con- 

-ively  decided  his  career.  There  followed  a  purely 
formal  concentration  on  a  course  in  practical  engineering 
during  his  at  the  Winchester    Street    S 


B 

The    engineering    trade    almost    cheated 
the  theater  of  Walter  Huston. 

Practical  engineering  was  second  in  his 
interest  to  hockey  and  the  school  team 
on  which  he  was  a  crack  player.  But 
both  these  interest-  were  subsidiary  to 
the  conviction  that  he  would  presently 
he  mi  the  stage. 

Ih>  conviction  was  not  idle.  When 
he  was  seventeen,  with  a  school  fri< 
of  the  same  age  and  inclination,  hi-  heard 
of  a  road  company  being  formed  in  To- 
ronto. The  two  optimists  applied  for 
jobs.  Hired  a-  extras,  they  were  just 
.ell  satisfied.     They  were  actors  now. 

"My  mother  and   father  didn't  ol 
Instead,    they    wished    me    luck.      Only 
my    father   had    am    apprehensions,   and 
those  were  slightly  nervous  doubts  about 
the  social  behavior  of  .  When  I 

that   first   job  and   told   them  of  my 
ion  on  a  stage  career,  father 
had  just   returned   from  a  trip.     <  >n 
same  train  with  him  had  been  a  bur- 

que    show,    probably    road    company 
Xo.   5,  and  he  was  worried    for   fear  all 
re  people  were  like   that." 

The  play,  starrii  man,  opened  in  Toronto. 

And    Huston's    debut    was    accomplished    with    outward 
aplomb,  to  the  gratification  of  thai   part   of  the  audience 


30 


A  Tintype  Heritage 


1  of  relatives  and  friends — the  only  part  of  the 
audience,  in  fact,  to  whom  his  presence  on  the  stage  was 
apparent.    With  an  admirable  semblance  of  careless  ease, 

the  extra  who  could  be  distinguished  from  the  other  ex- 
tras only  by  his  six  feet  of  adolescent  frame,  gave  the 
impression  of  phlegmatic  poise.  Which  was  the  initial 
evidence  of  his  instinctive  talent  because  he  didn't  feel 
that  way  at  all. 

"It  was  months."  Huston  reminisces,  "before  I  could 
overcome  a  stage  fright  that  was  less  nervousness  than 
ague.  The  minute  I  left  the  wings  and  the  footlights 
hit  me,  my  hands  would  go  clammy,  my  eves  wouldn't 
focus,  my  knees  would  rattle  and  I'd  feel  literally  ill. 
Bui  even  then,  it  wasn't  because  I  felt  myself  in  a  for- 
eign element.  T  knew  T  was  in  the  right  place,  so  I 
finally  licked  it." 

The  company  went  on  tour  to  the  delight  of  Huston 
and  his  pal.  When  it  was  stranded  their  spirits  were 
undamped.  New  York  was  obviously  the  next  step.  It 
was  midwinter  and  they  lacked  railroad  fare.  But  there 
is   more  than   one   way   of   employing  railway   facilities. 

From  Rochester  they  clung 
contentedly  if  not  comfort- 
ahly  to  the  accommodating 
rods  under  a  freight  car  en 
route  to  Xew  York. 

The  miracle  city  attained, 
they  alighted  at  125th  Street, 
livering  with  cold  and  hun- 
ger and,  as 
it  seemed  to 
them,  crip- 
pled for  life. 
After  a  half 
hour  of  pain- 
ful exercise 
to  restore 
flexibility  to 
muscles  taut 
from  twin- 
ing about  the 
rods,    they 


Walter  Huston  says 
an  actor  shouldn't 
interpret  a  charac- 
ter with  gestures, 
but  what  of  "The 
Bad   One"? 


left  the  tracks  and  set  out.  A  little  vague  as  to  where 
to  set  out  for,  they  knew,  however,  what  they  were  in 
search  of.  Their  acquaintance  with  Xew  York  was 
limited  to  the  knowledge  that  a  paper  called  The  Dra- 
matic Mirror  existed.  It  was  a  theatrical  sheet,  and 
they  reasoned  that  its  offices  must  be  in  the  theatrical 
district.  Inquiring  along  the  way,  they  proceeded  toward 
Times  Square  on  foot,  saving  their  fifty-five  cents  for  a 
hot  meal.  Fortified  with  beans  and  coffee,  they  found 
the  theater  district.  To  their  hurt  surprise,  immediate 
applications  for  engagements  met  with  no  success.  New 
York  took  on  a  different  and  faintly  ominous  aspect. 

Lodging  for  the  night  consumed  the  last  of  their 
capital.  The  following  morning  was  hreakfastless  and, 
as  they  continued  their  attack  on  stage  citadels,  they 
were  acutely  conscious  of  the  aroma  of  coffee  and  bacon 
drifting  from  the  restaurants  they  passed.  As  the  morn- 
ing progressed,  they  thought  less  and  less  about  their 
careers,  and  more  and  more  about  the  ecstasies  of  a 
well-laden  table.  Until  it  was  with  scarcely  a  regret,  that 
Huston  finally  paused  decisively  before  a  sign  in  front 
of  a  little  restaurant.  The  sign  explained  the  proprie- 
tor's need  of  a  waiter  and  Huston,  after  a  hasty  con- 
ference with  his  friend  entered — and  got  the  job. 

"We  were  convinced  that  if  we  couldn't  get  food 
before  the  end  of  the  da)'  when  my  wages  would  he 
paid  we  would  starve.  But  we  figured  that  some  one 
would  surely  leave  me  a  tip  and  we  made  our  plans.  I 
had  hoped  for  several  during  the  lunch  rush  hour  but 
I  was  a  very  bad  waiter.  With  unerring  precision  I 
managed  to  get  every  order  all  wrong.  Most  of  the 
patrons  were  cabmen  and  not  exactly  patient  or  for- 
bearing. I  got  so  confused  that  the  boss  would  have 
fired  me  immediately  except  that  he  just  had  to  have 
some  one. 

"Archie  was  walking  up  and  down  the  street  out- 
side as  we  had  arranged.  Every  time  he  passed  the 
door  he  glanced  in  waiting  for  my  signal.  I  got  plenty 
of  oaths  but  no  tips.  I  had  sneaked  some  food  for 
myself,  but  outside  poor  Archie  was  getting  hungrier 
and  hungrier.  Finally  the  rush  was  over.  About  three 
o'clock  the  only  one  in  the  restaurant  was  a  woman. 
With  only  one  order  on  my  mind  I  could  devote  my 
whole  attention  to  it.  There  were  no  mistakes  this  time. 
I  hovered  about  her  solicitously,  and  when  she  left  there 
was  a  dime  under  the  plate.  I  signaled  Archie  and  he 
strolled  in  according  to  plan.  I  brought  him  soup  and 
steak  and  potatoes  and  pie  and  coffee,  then  gave  him  a 
check  for  ten  cents  and  slipped  him  the  dime  to  pay  the 
cashier." 

Talking  the  proprietor  into  keeping  him  on,  Huston 
continued  as  a  waiter,  his  wages  supporting  himself  and 
Archie.  When  Archie  landed  a  job  in  a  road  company, 
he  sent  half  of  every  week's  salary  to  Huston,  who 
retired  joyously  from  the  restaurant  business  and  set 
about  resuming  his  interrupted  career.  Another  road 
company  finally  offered  him  professional  haven.  When 
the  friends  returned  from  touring  and  were  reunited  in 
New  York,  they  found  that  their  resources  amounted  to 
nearly  three  hundred  dollars.  Impressed  and  elated,  they 
each  bought  a  new  suit  and  made  a  hasty  trip  to  To- 
ronto to  give  the  home  folks  a  look  at  Broadway  actors. 

On  their  return  to  New  York,  Huston  got  a  small 
part  in  "In  Convict  Stripes,"  a  melodrama  by  Hal  Reid. 
father  of  Wallace.  This  engagement  ended,  he  went  on 
tour  with  a  company  playing  "The  Sign  of  the  Cross." 
Then  followed  a  period  of  deviation.  After  a  stretch 
of  idleness,  with  no  prospects  in  sight,  a  friend  per- 
suaded him  to  take  a  real  job,  as  supervisor  of  the 
city  water  and  electrical  plants  in  Nevada,  Mis- 
souri. There  his  training  in  engineering  served 
Continued  on  page   115 


:;l 


Lined  With  Gold 


That's    the    happy    condition    of    these    famous    dollar 
filled   throats. 


/ 


Clara    Bow,    left,   may 

not   be   a  Jcritza,   but 

her   singing  is  just  as 

remunerative. 


M  a  u  r  i  c  e     Chevalier,     above, 

sounds  a  deep  note  as  easily 
a>  a  high  one,  bis  long  training 
in  singing  in  smoke-filled  Euro- 
pean music  halls  impairing  not 
at  all  the  range  of  his  \ 


Mit/.i   Green,  left,  irrepressible 

a-,  ever,  would  have  you  believe 
that  her  golden  notes  are  at 
their  best  when  accompanied  by 

a   cello. 


Nino  Martini,  left,  the 
Italian  teix.r  whom  you 
heard  in  "Paramount  on 
P;  rade,"  opens  u ide  his 
laryn  .   and  all 

quip- 
of  a  1  rai:  ■ 


laid, 
for- 

.  ilu- 


32 


- 


*jV<8H^ss3»t 


LOVE!     Love!     What  is  it?     Nobody  knows,  and 
everybody    is    at    one    time    or    another    its    slave. 
Cynics  may  rave  and  philosophers  argue,  and  biolo- 
gists talk  of  an  inevitable  urge  and  psychologists  scoff  at 

emotional  reactions,  but  in  the  end,  as  in  the  beginning, 
they  are  one  before  the  law  of  love. 

For  love  is  the  power  that  made  them,  and  how  can 
they  escape  the  vibration  of  life  through  which  they  exist 
at  all  ?  When  the  wild  grasses  shiver  under  the  sweep  of 
the  winds ;  when  a  thrush  swings,  singing  its  little  throat 
out.  on  a  branch  of  dogwood;  when  a  glacier  makes  its 
grinding,  inexorable  way  over  mountain  hamlets ;  when 
tiny  waves  lap  upon  warm  sands  and  when  the  high  seas 
roar;  all  are  obeying  in  their  own  way  the  fundamental 
principle  of  the  universe,  and  that  is  love. 

Wise  men  say,  and  proud  men  say,  and  little  vain 
chatterers  on  the  edge  of  learning  say  that  man  is  above 
all  these,  and  is  in  his  true  self  no  slave  to  the  immutable 
forces  that  drive  all  the  lower  expressions  of  creation 
wherever  they  please.  Other  wise  men  insist  that  man  is 
certainly  a  slave,  the  same  victim  of  law  as  every  other 
hit  of  conscious  or  unconscious  matter,  and  equally  help- 
less in  the  end. 

Both  sides  are  right.  Love  is  life,  and  life  is  vibration, 
and  the  principle  of  this  vibration  controls  everything 
from  the  quivering  activity  within  the  electron  to  the 
flutter  of  a  girl's  eyelashes,  and  to  the  light  that  falls 
from  the  stars.  The  man  who  knows  this  principle  is  the 
master  of  all  activity,  but  few  men  ever  do.  In  the 
meantime,  the  rest  of  mankind  is  as  helpless  as  ever 
he  fore  the  touch  of  a  beloved  hand  and  the  sound  of  a 
beloved  voice,  and  this  is  as  it  should  be,  or  humanity 
would  cease  to  exist. 

Since  this  law  of  life  is  one,  and  is  the  law  of  infinite 
vibration,  existing  outside  of  time  and  space,  but  ex- 
pressing itself  through  these  limitations,  it  stands  to 
reason  that  the  vibrations  mystically  expressed  through 
numbers  must  be  of  this  same  law.  And  experience 
proves  that  they  certainly  are.  There  is  no  number,  no 
letter  of  the  alphabet,  that  does  not  deal  somehow  with 
the  expression  of  life  between  men  and  women.  A  few 
of  these  numbers  and  letters  deal  with  it  in  a  very  direct 
and  uiinuestionable  way. 

The  simple  attraction  to  the  other  sex,  such  as  young 
people  feel,  or  that  older  people  express  through  friend- 
ship, is  very  clear  at  certain  periods  of  any  one's  life. 
You  surely  know  a  girl  who  is  "boy  crazy,"  and  a  man 
who  is  for  a  time  always  to  be  seen  with  a  woman  at 
his  side,  whether  he  is  really  in  love  with  her  or  not. 

The  vibrations  that  drive  them  to  such  companionship, 

and  the  attraction  they  exert  in  spite  of  themselves  on 

their  companions,  lie  in  the  very  rhythm  of  the  universal 

life  pulsating  within  them  at  this  time,  and  this  is  indi- 

I  in  the  numbers  of  their  names. 

With  the  proper  combinations  in  the  total  digits,  this 
attraction  may  result  in  marriage,  but  often  it  only 
means  a  number  of  admirers  and  friends. 

There  are  on  the  other  hand  several  letters  that  neces- 
sarily bring  with  them  the  vibration  of  love.   They  express 


The  Mystery 

In   this   fascinating   department  will  be  found  an 
examples  of  its  influence  on  the  lives  of  the 

B$  Monica 

the  very  pattern  of  that  wonderful  duality  upon  which 
the  world  is  founded,  and  that  impresses  itself  on  the 
personality  of  the  bearer  of  a  certain  letter  and  name. 
Nothing  in  the  world  exists  without  its  counterpart,  and 
in  love  men  and  women  are  desperately  seeking  their 
very  own  counterparts,  seldom  as  they  do  succeed  in 
finding  them,  it  seems. 

It  is  easy  for  a  lion  to  find  his  mate,  for  we  have  no 
reason  to  believe  that  he  looks  for  more  than  a  desirable 
female.  But  into  what  confusion  and  misery  men  and 
women  are  thrown  by  love !  The  fibers  of  their  beings 
are  entwined  with  fears  and  ideals,  hopes  and  dreams, 
attractions  that  have  nothing  to  do  with  physical  charm, 
and  reactions  that  are  all  tied  up  with  memories  that 
were  forgotten  long  ago.  Love  is  a  dream  of  heaven 
and  a  delirium,  a  couch  of  downy  softness  and  a  bed 
of  thorns. 

Unfortunately,  marriage,  as  it  is  in  real  life,  and  as  the 
name  also  reveals  it,  has  often  nothing  to  do  with  love. 
Oh,  there  must  be  some  attraction,  to  be  sure.  Young 
people  among  us  are  never  driven  into  marriage  with 
some  one  who  leaves  them  utterly  cold.  But  what  of  the 
young  man  who  calmly  chooses  to  marry  his  employer's 
daughter  because  he  wants  a  partnership?  What  of  the 
girl  who  takes  a  certain  man  through  vanity,  laziness, 
greed?  How  can  the  attraction  they  feel  be  dignified 
with  the  beautiful  name  of  love?  The  bitter  part  of  it 
is  that  there  may  indeed  be  love  of  a  more  sincere  kind 
in  the  other  party  to  the  contract,  and  in  that  case  the 
disaster  is  not  long  in  coming  to  a  head.  All  of  this 
confusion  is  part  of  the  clear  reading  of  the  vibrations 
that  numbers  reveal. 

Then  there  is  the  profound  love  that  never  reaches 
fruition,  because  of  obstacles  that  the  lovers  have  not  the 
strength  or  the  daring  to  overcome.  Sometimes  it  is 
poverty,  though  that  is  not  often  the  case.  Sometimes  it 
is  the  heavy  burden  of  others  who  must  be  supported, 
and  that  is  a  form  of  poverty,  too.  Very,  very  often  one 
or  both  lovers  are  already  tied  by  marriage  to  some  one 
who  was  in  reality  only  a  passing  fancy,  a  flame  meeting 
a  flame,  the  assurance  of  a  good  home.  How  many 
young  people,  and  old  ones,  too,  would  dare  to  marry 
without  real  love  if  they  knev/  that  they  would  have 
finally  to  break  their  hearts  for  some  one  else?  There  is 
not  a  divorce  for  every  unhappy  lover,  no  matter  what 
the  sociologists  may  say. 

Continued  on  page  98 


. 


of  Your  Name 


explanation    of    the    science 
stars,  the  names  of   readers 


of    numbers.      Besides 
are  also  analyzed. 


Andrea   Shenston 

What  Douglas  Fairbanks,  Jr.'s,  Name  Tells 

THE  il  Pan  found  you.  dear  Douglas,  and 

made  of  you  a  pipe  on  which  to  blow  his  tunes. 
You  would  be  safe  with  His  simple  melodies,  for 
piercing  though  they  are.  they  run  through  only  a  very 

brief  gamut,  and  when  they  are  finished,  the  pipe  is  laid 
at  n 

The  trouble  lies  with  the 
dryads  and  the  nymphs  and 
the  wicked  little  fauns,  who 
steal  the  pipe  when  Pan 
puts  it  aside  for  a  moment. 
and  try  to  play  on  it  a  thou- 
sand enticing,  hut  noisy  and 
shrill,  little  tunes  of  their 
own.  The  warm,  tender  vi- 
brations oi  the  pipe  of  Pan 
are  jangled  and  confused  in 
attempting  to  follow  cries 
and  quavers  and  sophisti- 
cated rhythms  with  which 
they  have  nothing  to  do, 
and  Pan  himself  is  bewil- 
dered when  he  takes  up  his 
instrument  again. 

You  are  sensitive,  dear 
Douglas  sensitive  and 
proud  and  kind,  and  all 
through  your  life  this  com- 
bination will  torture 
You  know  at  once  what 
others  must  feel,  and  you 
wish  to  remove  their  every 
unhappy  feeling,  at  no  mat- 
ter what  cost  to  yourself. 
But  you  hide,  with  a 
remote,  unexpressive  pride. 
all  the  winds  of  emotion 
that  blow  through  you.  and 
you   are  hi: 

bit  foolishly  hurt,  as  yotl 
are  the  first  to  admit,  that 
those  who  love  you  do  not 

clearly,    resj^rr' 
quickly  as  you  do. 

You  will  always  do  too 
much,    and    wonder,    when 


your  spun  shrinks  before  the  lack  of  full  appreciation,  a 
lack  that  you  feared,  and  yet  hoped  this  tune  would  nOl 
be,  "Did  1,  alter  all.  do  Mo  little :" 

Beauty,  strange  to  saw  means  in  itself  nothing  to  \<m. 
You  are  haunted  by  the  spirit  of  things,  and  the  meaning 
that  must  lie  even  behind  the  spirit.  You  respond  to 
beauty,  ah.  yes,  hut  only  as  it  gives  you  a  glimpse  of  the 
divinity  beyond. 

You  haw  wonderful  creative  ability,  and   if  kit   to 
your  own  devices  you  will  bring   forth  the  love!)    ■ 
hires  of  your  dreams,  for  you  have  also  that  gift  of  ex- 
pression that  clothes  its  material  almost  in  spite  of  itself 
in  outward  form. 

You  are  fluid  as  a  stream  that  pours  itself  with  equal 
ease    into  a   grassy   meadow    and    into   the    hollows 
rocky  mountainside,  hut  you  do  what  the  stream  cannot 
do;  you  become,  for  the  time  being,  the  very  softness 
of   the  grass,   the   wind    in   the   meadow,   the   sharp  cut- 
Yon   are   sensitive,   dear    Douglas    Fairbanks,   sensitive    and 
proud   and   kind,   and   all   through  life   this   combination  will 
torture  you. 


through  which  you  | 

This  is  a  superb  ,>-i-t 
for  an  actor,  hut  it  is 
much  for  him,  unless  he 
succeeds  in  putting  up  a 
powerful  defense  be- 
tween his  own  natun 
the  spirit  of  what  he  has 
For  the  time  being  to  ex- 
press.    Acting  is  to  you 
more  than  the  recreation 
of   an    emotion.      h    is   a 
deep  spiritual  reality,  and 
you  live  a  part  out  of  the 
depth   of    what    seems   to 
be  another  nature,  know- 
ing as  little  why  yoi 
it   as   why  you  are   \ 
you  are  in  yourself.    Not 
that    you    do   not    r< . 
and  analyze,  but  the  most 
successful     scenes     come 
out  of  you  without   your 
knowing  how  good  they 
are.     until     you     hear     it 
from  some  one  else. 
The  whole  mcaniiu 
your     life     is     intuition, 
spiritual   awakening,   the 

sound     of     the     • 
'  Jod,  and  in  so  far  a-  \  ou 
listen  to  that   inner  voice 
you  will  suo 

This  is  not  con 
for  the  spirit   is  beyond 
good  and  evil,  and  when 
you    have    learned    this 

you    will    be    free    of 
one  great    fetter  that 
Miii'-'l   on   paj 


34 


Only  her  intimates  know  that  Billie  Dove  writes  verses 
paints  in  oils  and  water  colors. 

SHE  is  ungodly  beautiful.  It  takes  a  good  while  to 
surmount  that  fact  and  recognize  the  underlying 
structure.  Her  face  is  so  unreasonably  lovely  that 
the  aesthete  is  loath  to  look  further.  Which  explains,  in 
part,  her  relegation  to  nondescript  vehicles  on  the  screen. 
The  general  idea  seems  to  have  been  that  a  series  of 
close-ups  of  the  Dove,  in  varying  moods,  would  carry 
any  story,  be  it  ever  so  puerile.  To  a  certain  extent  it 
would,  and  lias.  But  our  civilization  is  not  quite  suffi- 
ciently Greek  in  feeling  to  be  entirely  satisfied  with 
beauty  alone.  For  which  reason  Billie  has  left  First 
National,  and  is  in  quest  of  cooperation  more  to  her 
liking. 

Coincident  with  the  rumor  that  she  will  sign  with 
Caddo,  the  producing  company  of  Howard  Hughes,  is 
the  probability  that  she  will  marry  the  young  million- 
aire. Hughes,  if  only  for  sponsoring  the  delightful 
"Two  Arabian  Knights"  of  a  few  seasons  past,  has  indi- 
cated his  worth  as  a  producer.  If  Miss  Dove  does  be- 
come affiliated  with  this  company,  it  may  be  the  resusci- 
tation of  a  meteor  previously  burned  out  on  weak  story 
selection. 

No  one  knows  more  thoroughly  than  Billie  how  bad 
her  current  pictures  an-.  Six  pictures  made  in  eight 
months  could  not  possibly  he  good,  hut  Billie  thinks  they 
needn't  have  been  quite  as  bad  as  they  were.  Yet,  con- 
trary to  the  prerogative  of  harried  stars,  she  doesn't 
dwell  on  the  ill  treatment  accorded  her. 

Billie,  the  Dove,  has  a  disposition  that  must  have  been 
molded  to  her  name,  so  neatly  does  it  fit.  She  is  gentle, 
warm,  tranquil,  even  in  displeasure.     Anger  arouses  her 


Billie— As  She  Is 

What   lies  behind  the  bisque  beauty  of   Miss 
Dove   is  here  brought  to   light. 

Ety  Margaret  Reid 

to  no  violence,  sorrow  to  no  desperation.  Experi- 
ence does  not  continually  model  anew  the  contours 
of  her  mind  and  emotions.  She  is  already  too 
complete  a  person  to  he  a  reed  in  the  wind.  Life 
is,  instead,  absorbed  by  her  serenity,  experiences 
savored  and  made  a  part  of  her  beauty  and  in- 
stinctive calm. 

The  antithesis  of  vivid,  she  is— if  a  biographer 
wished  to  become  flossy— a  pure  sky-blue  in  emo- 
tional color,  such  being  the  accepted  shade  for  tran- 
quillity. Yet,  recognizing  the  fine  distinction  be- 
tween tranquillity  and  the  less  sensitive  placidity, 
she  has  none  of  the  latter.  She  is  keenly,  even  if 
quietly,  aware  of  herself  and  of  things.  That  she 
is  quiescent  does  not  indicate  that  she  is  not  alert. 
She  knows,  but  is  serenely  unalarmed. 

When  she  was  a  child  her  present  attitude  was 
unconsciously  established.  Recently  going  through 
a  trunk  full  of  old  letters,  school  reports  and  such, 
she  found  a  scrap  of  paper  on  which  she  had 
copied,  in  careful  writing,  a  maxim  that  even  then 
appealed  to  her.  ^Yesterday  is  past ;  do  not  regret 
it.  To-morrow  does  not  exist ;  don't  worry.  To- 
day is  here ;  use  it." 

Yet  there  is  no  hysteria  in  her  disregard  of  yes- 
terday and  to-morrow,  in  her  prodigal  use  of  to- 
day. Her  life,  albeit  full,  is  leisurely.  She  is 
repose,  undisturbed  by  the  anomaly  of  a  noisy  age 
and  a  turbulent  profession. 

The  close  of  her  contract  with  First  National 
saw  the  beginning  of  her  first  real  vacation  in  sev- 
eral years — three  months  set  aside  for  play.  Weary 
of  studios  and  studio  business,  she  took  a  large,  sprawl- 
ing Spanish  house  on  the  edge  of  the  Toluca  Lake  dis- 
trict. Set  well  back  from  the  unpaved  road  and  sur- 
rounded by  smooth  lawns,  riotous  gardens  and  fruit 
trees,  the  present  domicile  of  the  Dove  approximates  her 
constant  yearning  for  stillness  and  peace.  There  is  little 
traffic  beyond  the  fence  protecting  her  from  the  road, 
and  the  only  sounds  are  from  birds  and  tree  toads,  and 
the  five  Scottish  terriers  which  are  her  delight. 

The  good  old  Scotch  family  was  founded  by  Lassie, 
whom  Billie  has  had  for  several  years.  Lassie's  daughter 
recently  contracted  a  shocking  mesalliance,  as  proved  by 
two  children — one  an  aristocrat,  but  the  other  liaving 
white  pazt's.  And  Lassie's  son  has  asthma,  so  what  with 
one  thing  and  another.  Miss  Dove  has  plenty  of  troubles. 
She  greeted  this  holiday  with  almost  childlike  pleas- 
ure. Contrary  to  the  impression  she  gives  of  having  had 
a  sheltered,  comfortable  life,  she  has  worked  very  hard 
since  she  was  little  more  than  a  child.  In  adolescence 
she  had  already  shouldered,  of  necessity,  responsibilities 
that  many  an  adult  would  have  tried  to  evade.  Finan- 
cial burdens  and  moral  obligations  have  attended-  her 
along  the  climb  from  obscurity  in  the  chorus  to  her 
present  celebrity  and  wealth.  And  hers  was  no  lucky 
break,  no  accident  of  fortune.  She  has  worked  hon- 
estly and  valiantly  for  everything  she  now  has. 

With  her  vacation,  she  discarded  all  thought  of  studios 
and  pictures.     Luxuriating  in  her  home,  which  she  had 
previously  seen  only  in  brief  snatches,  she  hates  to  stir 
Continued  on  page  106 


and 


85 


I  tor  ■■>  Fr7» 


BILLIE  DOVE  is  well  named,  deddea  Ifai^Vd  Rdd,  opposite, 
lor  she  is  tranquil,  neither  faj  nor  sorrow  disturbing  her 
calm;  but  she  is  aware  of  more  than  her  own  loveliness,  lor  her 
interests   are   many,    her   liie    full,   her    future    refulgent. 


30 


IN  Hollywood's  garden  of  girls  there  stands  one  whose  fair 
freshness  is  thai  of  summer's  first  rose.  She  is  Marion  Shilling, 
whose  sensible  acting  is  as  refreshing  as  a  cool  breeze  in  a  des- 
ert  "i   curies.     Her  next  film,  "On  Your  Back." 


Photo  bj  Otlo  Dyar 


37 


i 


f 


■^■^■MM? 


OVERWORK   ud   worry,  as  she  dashe<l    from  one  picture  to 
•iicr,   sent   Lib    Ix.-c   10  a   sanitarium   just   at    ilic-   moment 
i   stardom  was  bestowed  on  li<  r.     Oh,  barren  ^m  and  bit t<  r 
los>!      Uut    she    will — ->hc    must — return. 


38 


WHO  is  better  liked  than  Edmund  Lowe?  Step  forward  with 
your  nominees!  What — there  is  dead  silence?  And  no 
wonder,  for  Eddie's  good  performances  are  too  numerous  to 
mention,  his  hard-boiled  characters  as  ingratiating  as  his  drawing- 

i  heroes. 


Photo  by  Edward  Thayer  Monroe 


VICTOR  VAR(  I  l-y  the  tall  i 

Isblel     After  a  year  in  he  return 

the  reward  for  Ins  brilliant  and  finds 

waiting  lor  him  his  firM   t.ilkic,  "II, 


40 


A  GIRL  on  a  garden  wall,  and  what  more  delectable  girl  than 
Marion  Davies  to  occupy  such  a  becoming  perch?  Though 
it  might  better  be  a  peak,  because  her  reputation  as  the  screen's 
most  M-intillant  comedienne  places  her  on  a  true  eminence. 


Photo   by   Clarence   Sinclair   Bull 


41 


Phatn   bj  Barnfl 


EVERY  little  crease  and   fold  has  a  meaning  all  its  own 
Joan  Crawford  drofM  her  sewing  to  become    <   Itaf,  the   idol 
of  the  younger  set,  a  prima  donna  of  the  movies,  next  to  appear 
in  a  musical,  "The  fjreat    Day." 


42 


WITHOUT  benefit  of  make-up,  lipstick,  or  false  eyelashes, 
Maureen  O'Sullivan  shines  brightly  because  she  is  typical 
of  the  Irish  girl  as  she  really  exists,  and  in  the  story,  opposite, 
William   H.   McKegg  brings  out  her  charm   and   common   sense. 


Photo  by  Autrey 


Not  as  Other  Children 

An    Irish    tradition  puts    Maureen    O'Sullivan    in    a    special    class,    and     in     Hollywood    she    is    quite 
"different"    too.    one    reason   being    that    she    is    a   star   without    looking    moviesque. 

By  William  H.  McKegg 


I  HAVE  met  dear  young  things,  oh,  so  very  modern. 
Others,  very  shrinking  and  sweet.  Still  others,  in- 
tent on  being  sophisticated.  Yet  1  never  came 
across  one  who  entirely  understood  her  own  self — her 
outlook  on  lift.  With  one  and  all  it  was  a  case  of  words, 
but  not  deeds. 

When  I  met  Maureen  O'Sullivan.  I  instantly  realized 
that  in  this  young  j^irl  it  was  a  case  ot"  deed-  before 
words. 

Maureen  is  unique.     She  is  neither   simpering   inno- 
cence nor  obvious  sophistication:  yet  she  |  -  both 
qualities,  but  with  the  adjectives  shot  away.      She 
I  beauty,  neither  is  she  at  all  plain;  yet  her 
features  impress  themselves  on  one. 

Without  benefit  of  make-up  she  has  beautiful  color- 
There  seems  to  be  a  faint  haze  before  her  ( 
in  fact,  all  over  her  face.     Just  like  the  glow  radiated  by  a 
flame  behind  white  satin. 

If  it  is  a  silly  remark,  it  is  nevertheless  true. 
There   i-   something  mystic   about    Maureen. 
And  this   instant   impression   is   not   wr 
s  and  girls.     For  she  was  born  at  Boyle, 
Lake   Gara   and    Lake    Key.    in   the 
Ireland,  where  fairies  attend  christen- 
-.  and  the  mystic  light  mentioned  above  is 
d  in  the  eyes  of  each  newly  horn  crea- 
ture, and  a  mystic  song  -  nging  in  its 
heart. 

Well.  well,  and  again  well !     These 
Irish  rites  cause  such  children  to  be  not  as 
other  children.      Men  and   women   grow   up, 
but  the  song  and  the  light   are  ever  within 
them,   and   they   know    tl  her   pet - 

don't  kn 

Thus  it  is  with  Maureen. 
Her   home    is    at    Killiney.    not    far    from 
Dublin.      After    going    to    a    convent    there, 
reen  was  sent  to  one  in  London.     Later 
she  finished  her  schooling  in  Paris. 

Frank  Borzage.  the  director,  saw  her  at  a 
cafe  in  Dublin  and  recognized  in  her  the  girl 
:is  picture. 
Maureen's    father,    a    retired    major,    was 
away  in  London.     Fearing  sal  to  let 

her  go  to  Hollywood,  she  took  it  upon  her- 
•_;o.     That's  how  Maureen  is. 
can  follow  after. 
:   have   undoubtedly   seen   her   in   John 
McCormack  My    Heart." 

plavs  in  Will  R 

She    and    Frank    Albertson    are    the 
lovers. 

■u  will  probably  see  Mau- 
reen in  many  other  films.     She  has  surj 
many  l>ccar.  expected  to  hear  a   rich 

Irish  brogue,  not  realizing  that  the  edui 
Irish  speak  j>erfect  Fngli-h  :  only  the 
and  those  living  among  them  use  the  br< 

apartment  where  the  O'Sullivan  gave  me 
and  toast,  and  I  narmala 


She  was  living  alone.    We  talked  about  the  situation. 

"I  think  ever)   one  should  lace  lite  alone  for  a  while," 

Maureen  said.    "Experience  and  truth  go  together.   Yon 

cannot  learn  the  truth  without  knowing  the*  difference 
between  right  and  wrong.  1  do  not  believe  in  jumping 
into  any  new  excitement  that  comes  one's  way.  A  i  • 
alone,  especially  a  girl,  has  to  follow  a  set  of  rules  along 
which  to  travel.  Without  rules  .she  will  hi-  swept  this 
way  and  that." 

Thus  spoke  the  O'Sullivan,  sitting  with  one  foot  under 
her  on  the  settee,  while  the  scribe  watched  the  light  play 
on  her  brown  hair  with  its  coppery  glints. 

"No,"  continued  Maureen,  snapping  me  hack  to  my 
senses,  "you  can't  grapple  with  life  haphazardly.  If  you 
do.  you  will  find  yourself  rather  bewildered. 

"When  I  came  to  Hollywood  my  mother  came,  too. 
When  she  returned  to  Ireland.  I  felt  that  this  freedom  I 
suddenly  faced  was  something  I  had 
eagerly  sought — what  I  really  needed. 
But  as  soon  as  I  was  left  alone  I  was 
scared. 

"It  was  a^  if  I  had  found  myself  in  a 
dense  forest  and  had  to  make  a  path- 
way through  it.  It  would  be  of  no  use 
to  rush  pell-mell  through  it.  To  see  the 
right  way,  I'd  have  to  go  slowly. 

"In   Hollywood  that  is  most  essential. 
ally  in   pictures.      I   don't    wish  to 
sound  as  if   I   were  a  great   actress,  hut 
you  know  what  I  mean." 

"Ah.  yes,"  sighed  the  hypnotized  in- 
terviewer. 

"When  I  first  arrived  I  knew  scarcely 
any  one.  After  'Song  o'  My  Heart."  I 
met.quite  a  few  people.  It  may  sound 
vain,  hut  it  is  nevertheless  true  that 
when  a  Lurl  plays  in  even  one  picture 
there  are  plenty  of  young  men  eager  to 
make  her  acquaintance.  Not  .all  may  be 
interested  in  her  personally.  Mo 
them  merely  wish  to  add  her  name  to  the 
■1  their  list.  They  like  to  he  able 
to  say,  'Oh.  I  took  So-and-so  nut  to  a 
show  last  night.' 

"All  this  may  sound  conceited,  hut  it's 
not  meant  in  that  way.  I'm  trying  to 
explain  my  position.  It  is  very  hard 
for  a  player  to  know  who  will  really  he 
1  friend,  and  who  merely  wishes 
to  flaunt  her  name  in  his  conversation. 
It  is  only  the  glamour  surroundii 
r  that  attracts  the  latl 

.anted  to  act.     Sil 
■    I  can  remember 
-I  have  felt  that  inside  me  then-   . 
wonderful  message   1  had  to  ti  II 
one.   What  it  was  I  could  i  don't 

know    now.      I    only    know    that    acting 
bring!  to  what    I   try  t- 

And  acting  helps  mi    to  understand  hu- 
man i' 


Maureen's         "discovery" 

and     her     quick     success 

rivals  the  romantic  stories 

of  the  screen  itself. 


44 


Cool  and 


What  greater  boon  to  the  overheated  star, 
into  an  outdoor  pool 


Soberly  Buster  Keaton,  above,  gazes  into  the  pool  that  is  a  jewel 
set  among  the  acres  of  his  estate. 

John  Gilbert,  tij^lit.  finds  enjoyment  in  a  pool  far  from  the  mad- 
ding crowd,  v.  and  shrubs  lend  their  shade  to  the  privacy 
of    Vdonis  at  the  bath. 


!  i 


Sequestered 

or    even   us    poor   mortals,   than   a   plunge 
adjoining  the  mansion   itself? 


~    • 


I 


V 


Hugh  Trevor,  above,  mus- 
ing  on  lii>  ladyloves  i>a-t. 

present  and  to  come,  looks 
puzzled — probably    because 

the    future    holds    such    un- 
limited   possibilities. 

The  Lorelei  with  stream- 
ing hair,  left,  is  Ann 
Harding,  and  in  the  far 
distance  is  her  husband, 
Harry    Bannister. 

Charles     Mack,    the    more 

famous  member  of  Moran 

and   Mack,  outer  left,  with 

Mrs.   Mack. 


nd  Gloria  Lloyd,  above,  on  the  brink  of  their  pool,  the 
largest  in  Hi  rly   Hills,  could   ii 

played  in  Harold's  pictures  without  overcrow 
but  Gloria  thinks  that  mamma  Mildred  will  I" 

all. 

•<'tcr    a    year    in    vaudevilli 
thir  lace  like  home,  and  thy. 


46 


fjhe  ^Bystander 


I'huto  by  -Monroe 

Evelyn  Laye  returned  from  European 

triumphs  to  start  her  screen  career  in 

"Lilli." 


FAXXY  THE  FAN  was  so  com- 
pletely concealed  behind  the 
pages  of  a  letter  she  was  read- 
ing, that  I  sat  in  the  lobby  of  the 
Warwick  for  several  minutes  before 
I  recognized  her. 

"This  is  the  grandest  description 
of  Hollywood."  she  exclaimed  in  a 
homesick  tone,  tripping  over  a  rug 
and  begging  the  pardon  of  a  potted 
palm  that  she  set  a-swaying  as  she 
walked   along,   her   eyes   still    intent   only   on   her   letter. 

"No,  I  won't  tell  you  who  it's  from.  He's  under  con- 
tract at  simply  loads  and  loads  of  money,  and  still  more 
than  that,  so  it  wouldn't  do  for  him  to  speak  his  mind. 
Bui  his  comments  are  good  even  if  they  must  he  anony- 
mous. 'Half  the  people  out  here  are  simply  frantic 
with  worry."  he  writes.  'They're  worried  about  their 
hair  getting  thin  from  exposure  to  studio  lights; 
thev're  worried  about  their  voices;  they're  worried  about 


the  scenes  that  are  cut  out  and  the  scenes  that  are  left 
in.  The  other  half  aren't  working  and  are  desper- 
ate. There's  a  high-tension  air  all  around,  as  if  every  one 
expected  the  executioner  any  minute  and  was  determined 
to  die  with  a  smile.'  Doesn't  that  make  New  York  seem 
dull?" 

And  if  Fanny  were  in  Hollywood  she  would  be  dissolved 
in  tears  over  the  situation ! 

""What's  the  matter  with  Hollywood,  anyway?"  I  asked, 
forgetting  for  the  moment  that  Fanny  took  such  idle  ques- 
tions seriously  and  probably  would  answer  me,  and  in  great 
detail.     She  did. 

"It's  a  vicious  circle !" 

She  spoke  with  intensity,  as  if  something  would  have  to 
be  done  about  it  at  once.  "The  public  is  getting  so  apathetic 
toward  pictures  that  they  are  staying  away  from  them  in 
droves.  Business  has  fallen  off  to  such  an  extent  that  very 
few  films  are  good  for  a  two-week  run.  That  means  the 
producers  have  to  make  more  of  them,  in  order  to  have 
enough  for  a  weekly  change  of  bill.  And  if  they  can't 
make  even  a  few  good  ones,  what  can  you  expect  of  them 
if  they  make  almost  twice  as  many?" 

"When  there  aren't  enough 
good  plays  to  fill  all  the  legit- 
imate theaters,  they  just  close 
a  few  of  them,"  I  murmured 
by  way  of  suggestion. 

"I  can't  argue  with  you," 
Fanny  retorted  petulantly, 
"if  you  get  reasonable  about 
motion  pictures.  You  don't 
understand  the  do-things-in- 
a-grand-manner  policy  of  the 
m  o  t  i  o  n  -  p  i  c  t  u  r  e  industry. 
Don't  you  know  that  when 
there  are  too  many  theaters 
in  a  town,  they  always  build 
i  few  more  bigger  ones?  And 
that  even  though  they  know 
the  public  prefers  young 
players  and  ones  they  are  fa- 
miliar with,  the  studios  keep 
on  signing  up  middle-aged 
stage  actors — and  how  stagy  ! 
— that  don't  mean  a  thing  to 
them?" 

My  answer  to  that  was  a 
questioning  sigh,  which  I  still 
think  was  as  good  as  any. 

"United  Artists  seems  to 
be  in  the  worst  muddle," 
Fanny  continued.  "Their 
own  stars — Pickford  and  Fairbanks  and  Chaplin  and 
Norma  Talmadge— haven't  released  a  picture  in  so  long, 
that  when  we  do  see  them  we'll  feel  that  they've  been 
taken  out  of  a  glass  case  and  dusted  off  for  the  occasion. 
They  tried  starring  Harry  Richman  and  Fanny  Brice, 
and  you  see  how  far  that  got  them.  Now  they  have  hopes 
of  developing  a  following  tor  loan  Bennett  and  Chester 
Morris  and  Una  Merkel  that  will  justify  starring  them. 
They  all  have  talent,  but  it  takes  time  to  build  up  a  star." 


I 'In. lo  bj  White 

Twenty-five   hundred   dollars   a  week  broke 

down      Genevieve      Tobin's      resistance      to 

movies. 


■17 


tacups 

Fanny  the  Fan  outlines  the 
vicious-circle  puzzle  that  pro- 
ducers are  trying  to  solve,  and 
surveys  the  passing  show  of 
nlmdom. 

I  wished  alotul  that  Jack  (  >akic  were  there 
to  laugh  that  off.  It  certainly  didn't  take  him 
long,  Mr  Maurice  Chevalier  either,  for  that 
matter.  And  Ami  Harding  and  Constance 
Bennett  are  doing  very,  very  well  at  the  hands 
of  the  public 

Any  mention  of  Ann  Harding  makes  Fanny 
exclaim. 

"Oh.  I  hope  Pathe  finds  more  comedies  for 
ber!  That  is,  if  you  can  call  anything  with 
as  tragic  an  undertone  as  'Holiday'  a  comedy. 
I  simply  adored  every  moment  of  that  picture. 
I  wonder  if  the  public  has  taste  enough  to  ap- 
preciate her.  When  1  saw  the  picture  the  gum- 
chewing  matron  next  tome  kept  saying 'Society 
girls  don't  act  like  that.'  I  was  so  annoyed  at 
her  that  in  going  out  I  knocked  her  hat  off  her 
lap  and  trod  on  her  instep." 

And  that's  how  film-fan  society  acts  when  you 
have  no  particular  liking   for  their   favorites! 

nett  has 
been  in  town."  Fanny  an- 
nounced with  a  degn 

that    would    satisfy 
even     the    young     lady's 

mar  as    only 

can  look.  I  wish  she 
could  devote  a  little  spare 
time  to  lecturing  Holly- 
1  on  what  to  wear 
and  how  to  wear  it. 

"By  the  way.  her  mil- 
lionaire ex-husband,  Phil 
Plant,  has  taken  to  writ- 
ing  sentimental    s 
and  they  art  sedly 

inspired  by  Constant 
"Is  that  a  new  vice  of 
I   asked,  all 
■s  it  why  she  divoi 
him?     Can  you  imagine 
anything    more    terrible 
than  the  -  around 

the  ! 

Fanny    never    takes    a 
proper  interest  in  my  re- 
marks.     She  alv. 
con1  rbed  in  look- 

ing at  the  people  around 
her,  or  picks  up  a  book 
or  a  newspaper. 

"I  suppose  you  read." 

announced,    looking 

•   edition   of 

apcr  that  I  couldn't 

hi v  have  seen,  "that 

■  lyn     I. 

Mary  Piclcford's  plans  are 
shrouded   in  mystery. 


>  by  null 

Sally    Eilers    is    living    a    Western    thriller 
now,  instead  of  acting  in  one. 

admirers  gave  her  a  race  horse  and  that 
he  won  a  big  race  Saturday. 

"Maybe  I  am  too  optimistic,"  she  went 
on,  "but  I  do  think  that  Evelyn  Lave  is  one 
newcomer  who  will  create  a  sensation  in 
pictures.      She  utterly  lovely  and    so 

differenl  from  any  one  else.  She  arrived 
from  London  a  few  days  ago  and  left 
almost  at  once  for  Hollywood.  While 
abroad  she  sang  for  Queen  Mary,  appeared 
at  live  charity  benefits  one  night,  took  two 
singing  lessons  a  week  and  learned  a  lot 
of  Hungarian  peasant  dances.  Aside  from 
that  she  had  just  a  lovely  rest. 

"When  she  reached  Hollywood  she 
found  that  she  wasn't  such  a  stranger  after 
all.  There  on  the  set  with  her  was  I. ion 
Errol,  who  once  tried  to  teach  her  knock- 
about dancing.  If  she  ever  gets  high-hat 
with  him — which  isn't  at  all  like  he' 
can  just  remind  her  that  she  was  awfully 
slow  to   learn. 

"I'm  really  not  in  favor  of  bringing  any 
more  stage  stars  into  pictures,"  Fanny  in- 
sisted earnestly,  "hut  sheer  curiosity  will 
send  me  to  see  some  of  the  newcomers 
in  one  film." 

There  was  no  need  to  remark  that   that 
would  probably  he  all  that   she  could 
them  in.  if  they're  like  some  of  the  recruits. 

"Genevieve  Tobin,  for  instance,"  Fanny 
went  on.     "She  and  her  sifter  Vivian  have 


4S 


Over  the  Teacups 


Several    companies    would    like    to    borrow    Ginger    Rogers 
from  Paramount. 

been  two  of  the  most  promising  young  actresses  on  Broad- 
way for  several  years,  yet  they've  never  quite  made  the 
sensation  expected  of  them.  Genevieve  had  lots  of  offers 
to  go  into  pictures  in  the  silent  days,  but  she  never  fell 
until  Universal  murmured  something  about  twenty-five 
hundred  dollars  a  week.  She's  to  appear  in  a  picture 
based  on  John  Erskine's  novel  'Sincerity.' 

"And  there's  Miriam  Hopkins,  who  is  glorious  on  the 
stage.  She's  to  do  a  picture  for  Paramount  in  the  East. 
She  isn't  really  pretty,  hut  she  is  interesting  looking. 

"However,  she  is  likely  to  be  cast  in  the  picture  with 
Carol  Lombard  and  Carol  is  not  only  stunning,  but 
camera-wise." 

You  can't  blame  me  for  becoming  interested  when  she 
brought  up  the  name  of  our  old  friend  Carol. 

"Yes,  she's  here  in  town  and  simply  running  around 
in  circles  trying  to  take  in  all  New  York  before  she  starts 
work.  New  York  players  high-hat  the  Hollywoodians  so 
terribly  about  the  advantages  of  the  sophisticated  metrop- 
olis, that  when  girls  who  have  been  working  in  pictures 
ever  since  they  left  school  get  here,  they  expect  to  find 
something  strange  and  new.  And  except  for  some  tall 
buildings  and  rowdy,  undressed  shows,  they  find  the  same 
old  bargain  sales  and  talks  of  hard  times  and  prohibition 
that  they  would  get  anywhere.  Just  another  hick  town. 
They  don't  realize  that  they  have  to  come  here  in  winter 
really  to  get   the   feeling  of   New  York. 

"Still.  New  York's  been  a  pretty  good  town  the  last 

few  days."  Fanny  admitted,  grudgingly.    "Marie  Dressier 

back    from   Europe  the   other  day   and    went   to   the 


Capitol  to  see  herself  in  'Let  Us  Be  Gay.'  The 
audience  gave  her  such  an  ovation  as  those  old 
walls  had  never  heard.  Miss  Dressier  is  such  a 
comfort.  She  loves  Hollywood,  she  is  thrilled  over 
her  success,  and  she  doesn't  find  anything  wrong 
with  pictures  except  this  talk  of  starring  her.  She 
is  against  it.  She  just  wants  to  go  on  making  a 
lot  of  pictures,  without  the  responsibility  of  a 
stellar  role. 

"The  last  picture  she  and  Polly  Moran  made 
together  is  such  a  hit  that  Metro-Goldwyn  plans 
to  cast  them  together  in  another  one  right  away. 
This  one  deals  with  reducing. 

"Marion  Davies  is  having  a  grand  vacation  in 
Paris,  but  she  will  he  back  in  our  midst  by  Sep- 
tember. Norma  Talmadge  is  there,  too.  Ronald 
Colman  got  back  from  England  the  other  day,  and 
did  you  hear  the  story  about  the  dogs?" 

Even  though  I  had.  it  was  worth  hearing  again. 
It  may  not  be  true,  but  it  is  amusing  to  hear  of  the 
publicity-shunning  Ronald  being  a  party  to  a  hoax 
like  that. 

"You  know  when  Ronald  arrived  in  New  York 
after  making  'Bulldog  Drummond'  he  had  a  lot  of 
prize  bulldogs  with  him,  supposedly  his  own  pets. 
And  now  that  he  has  made  'Raffles'  he  hove  into 
town  with  a  flock  of  Dobermann-Pinschers.  To  my 
mind  it  would  have  been  more  significant  if  he  had 
brought  police  dogs.  Well,  anyway,  the  story  is 
that  they  aren't  Ronald's  dogs  at  all.  They  are 
just  atmosphere  borrowed  for  the  occasion.  After 
he  makes  his  entrance  and  is  suitably  photographed, 
so  the  story  goes,  the  dogs  are  sent  back  to  the 
kennel   from  which  thev  were  borrowed." 

That's  all  right 
with  me.  It's  the 
boys  who  exploit 
themselves  saying 
"Hello,  everybody" 
over  the  radio  and 
making  personal  ap- 
pearances with  their 
pictures,  and  talking 
about  their  ideal  girl, 
that  I  cannot  bear. 
But  Fanny  is  so 
maudlin  about  dogs 
that  she  can't  forgive 
any  one  who  can 
give  up  a  dog  after 
playing  with  him  five 
minutes.  Half  her 
admiratie.  "  Eve- 
lyn Laye,  I  am  con- 
vinced, comes  from 
the  fact  that  Miss 
Laye  used  to  take 
her  English  sheep 
dog  walking  in  Cen- 
tral Park  even  on  the 
most  blizzardy  days 
last  winter. 

"Did  you  hear 
about  Sally  Eilers' 
wedding?"  Fanny  asked  eagerly,  as  if  any  one  could 
have  picked  up  "a  newspaper  in  the  last  few  weeks 
without  reading  about  it.  "I  do  hope  she  will  be  happy 
and  I  can't  imagine  why  she  shouldn't  be.  Hoot  Gib- 
son has  finished  his  contract  with  Universal  and  won't 
make  any  more  pictures  for  a  while.  He  and  Sally  will 
be  living  this  Western  stuff  instead  of  merely  acting  it. 
He  plans  to  stage  some  big  rodeos  at  his  ranch,  and 


Some  one  ought  to  write  another 
"Holiday"  for  Ann  Harding. 


Over  the  Teacups 


4<> 


they  want  to  tour  the  West   in  his  airplane.     He 
nuns  property  in  many   places  and  Sally  will  be 
kept  busy  making  a  home  at  whichever  place  he 
les  to  alight   for  a  while.     I'm  sorrj    Sally 
didn't   make  one  good   picture  before   she   quit, 
though    "  Forward    Mareh"    hasn't    been    released 
I   like  her  voice.     Still.   »hc's  young.      She 
lor    ten   years   and    still    come    hack 
and  he  in  the  running. 
"Ginger    R  bout    the    only    terribly 

:  1  to  make  a  success  lately.     Most  of  the 
others  are  dangerously  near  thirty,   if   not  a  hit 
over.     A  lot  of  companies  have  been  trying  to 
linger  from  Paramount,  hut  they're  plan- 
ig  things  for  her  themselves. 
"Don't    stare    at    that    girl    so    hard.      I    know 
you've  seen  her  somewhere.     If  you're  so  full  of 
curiosity   I'll  arrange    for  you  to  meet  her.  hut 
;  ng  from  the  way  you  snorted  all  through  her 
picture  you  should  he  ashamed  to  face  her. 
it's    Bernice    Claire."    Fanny   went    mi. 
"And    a    nicer,    more    wholesome-appearing    girl 
you  never  saw.     If  they'd  given  her  some  nice, 
homespun  roles  instead  oi  making  her  out  a  high- 
powered    siren,    she    might    still    he    in    picture-. 
Maybe  she  will  make  some  more.     You  can't  ever 
tell.     At  the  moment  she  is  angling  for  a  vaude- 
ville engagement. 

"A  urirl  I  admire  is  Dorothy  Burgess.  When  the 
studios    insisted    on    classifying    her    as    a    wild. 
primitive  type,  she  didn't  meekly  take  the  parts 
and  she  didn't  whine  or  argue  with  them  ahout  it. 
either.     She  studied  the  part  she  wanted  to  play,  a 
romantic  lead   in    Pathe's   Tainted   Desert.'   paid 
•aking  a  test  and  showed  what  she  could  do. 
She  got  the  job.     And  she  ought  to  get  a 
round  of  applause  from  the  producers  for 
being  so  ingenious  ahout  getting  her  way. 
"I    should    think    the    girls    in    Holly- 
'.    would    be   getting   pretty   tired   of 
all-men  pictures  like  'Men  Without 
en.'    'The   Dawn    Patrol.'    and    'All 
Quiel  '      S  me  one  should   tell   them  to 
cheer  up.  though.     A  play  will 
be    produced    in    New    York 
n  with  an  all- femin- 
ine   cast.      The    action    takes 
place  in  a  working  girl's  hotel 
and  it's  supposed  to  be  funny 
and  pathetic  and  full 
of    "fat"    dramatic 
roles.      If    it    make- 
the  hit  it  is  expected 
•me  one  will  buy 
the    picture    rights. 
and    then    the    girls 
will  have  an  inning  of  their  very  own. 
-peaking    of    picture    rights!      I 
warned  you  that  you  would  hear  a 
lot  alxiut  the  Hollywood  novel  'Queer 
People."     Well,  even  though  it   days 
Hollywood.     Howard     Hughes     has 
ht  the  picture  right-.     There  arc- 
many    people    out    there    who    won't 
even  speak  to  him.    People  who  think- 
that   they   are   satirized   in   the 
won't   even  ne  who 

admits    they    like    it.      But    they    all 
chuckle  over  it  in 

secret.  Carol    Lombard    is    in 

"I     think    it     i-       a    whirl    on    her    first 
much  nicer  to  take  visit  to  New  York. 


m 


* 


Bernice    Claire    may    return    to    musical    comedy,    or    try 
vaudeville. 


public  recognition  of  your  lame  graciously,  the 
way  John  Barrymore  did  when  'The  Royal  Fam- 
ily' kidded  him  unmercifully.     And  that  reminds 
me.  Ruth  Chatterton  isn't  to  play  in  the  picture 
<>f  'The  Royal  Family'  after  all.     Ina  Claire  will 
have  the  leading  role,  which  suits  me  better.    She 
has  so  much  more  temperament,  whatever  that 
is.     There  is  only  one  person  T  would  rather  see 
do  it,  and  that  is  Lilyan  Tashman.     Libyan  is 
doing  very  well,  of  course,   playing  hard-boiled 
roles,  hut  I'm  sure  she  would  do  something  with 
more  depth  just  as  well.      If    Fill    Dorsay  were 
in    any    danger    of    getting    self-important,    the 
impulse  was  squelched  when  '<  )n  the  Level'  was 
released.     Lilyan  simply  romped  away  with  the 
picture." 
On  and  on  Fanny  rambled,  with  a  bouquet    for 
this  one,  a  funeral  wreath  for  that  one.     "The  Dawn 
Patrol"   pleased   her   as   a   picture,    particularly   the 
work  of  Douglas  Fairbanks,  Jr.,  hut  as  a  de  luxe 
opening  she   insisted    it   was   nothing  to   impress   an 
out-of-town   guest.      The   audience,    she   maintained, 
looked  like  wilted  lettuce. 

"Gloria  Swanson  i-  on  her  way  to  New  York,"  she 

brightened   up  perceptibly  at   the   prosp  "Her 

husband's  on  his  way  home   from    Paris  and   -he   is 

coming  East  to  meet  him.     They  will  stay  here  lor  a 

while,  probably  until  Gloria's  picture  opens.     Maybe 

they  will  open  the  house  at  Harmon  on  the  Hudson.     I 

drove  past  there  the  other  day  and  Gloria's  garden  looked 

lovely  in   -pite  of   her  long  absence. 

1     ntinued   on   !• 


50 


Rest  for  tke  Wear>> 

'  'Op  upon  my  knee,"  say  gallant  gentlemen,  and  any  number  of 
fair  ones  seize  the   opportunity  for  a  good   look  at  the   camera. 


Bessie  Love,  right,  will 
do  anything  for  a  funny 
dance,  and  she  finds  Gus 
Shy  a  willing  partner  in 
"Good  News." 


Robert  Montgomery,  be- 
low, instructs  Sally  Starr 
in  the  rudiments  of  pet- 
ting from  an  advanta- 
geous position. 


Gene  Morgan,  above,  seems  to  get  no 
pleasure  out  of  affording  Marion  Byron 
a  resting  place,  though  the  little  girl  who 
is  called  "Peanuts"  certainly  isn't  a 
heavyweight. 


Marjorie  White,  below, 
whose  gifts  include  an  India- 
rubber  face,  gets  unsteady 
support  from  Richard  Keene, 
but  she  won't  mind  if  he  lets 
her  fall,  for  Marjorie  has 
lots  of  rubber  about  her. 


51 


A  Propket 
xtfitk  Honor 

He     is     Edward     Everett     Horton.    whose 

service  to  the  stage  means  as  much  to  the 

stars   as   his    comedy   on   the   screen    does 

to  the  fans. 

By  Margaret  Reid 

LOS  ANGELES,  any  pacer  of  the  boards 
:  will  tell  you,  is  just  about  the  toughest 
town  to  play  in  all  these  United  States. 
Among  the  movie-making  residents  oi  Holly- 
wood, the  golfing  winterers,  and  the  theater- 
unconscious  retired  farmers,  there  is  an  ap- 
pallingly small  trade  for  stage  plays.  And 
when  a  legitimate  production  is  patronized,  the 
nsus  oi  opinion  is  either  that  there's 
nothing  like  a  good  movie,  or  cries  of  "Medi- 

'  Inferior!"  from  visiting  Xew  Yorkers, 
or  "What  is  it  all  about?"  and  "Where  is  the 
nearest  revival  meeting?" 

In  this  community,  filled  with  churches  pre- 
sided over  by  such  belligerent  evangelists  as 
Aimee  Semple  McPherson  and 
'"  Fight i-  "    Shuler.   such 

refinements  of  entertainment 
as    O'Neill's    "Strange    Inter- 

"  pale  by  comparison.    The 

•ill  opus,  for  example. 
died  a  quick,  painful  death  at 
its   I-  presentation. 

An  attempt  to  produce  a  reper- 
toire of  Theater  Guild  plays 
suffered  a  similar  fate.  Any 
producer,  with  the  possible  ex- 
ception of  Henry  Duffy,  who 

>od. 
clean  American 
comedies"  to  a 
delighted  clien- 
tele from  Iowa 
and  Long  Beach. 

s  periodically 
never   to   try   to    bring 
decent   theater   to    Los 

All    of    which   draws 
a  most  depressing  pic- 
ture   of    night    life    in 
God's  country.     For  the 
minority  who  like  their 
theater  well  done,  par- 
ticularly the  exiles  from 
Xew    York,    the    I 
,e    condition    w 
cause    more    than 
possible  hot 
slip  through  the  fin 

the     Gian  ' 
Commerce. 

Lois  Wilson's  stage  ex- 
perience with  Mr.   Hor- 
ton    prepared     her     for 
talkies. 


For  ten  years  Edward  Everett  Horton  has  held  first  place  in 
the   hearts   of   Hollywood   theatergoers. 

Would,  that  is,  were  it  not   for  one   factor.     A   factor, 
name  of  F.dward   Everett  Horton,  who  produces  plays   for 
his  own  pleasure  primarily,  and  to  his  own  taste.     His  taste 
happens  to  be  good,  yet  (lying  in  the  face  of  all  prece- 
dents, he  gets  away  with  it.    Murmurs  of  "Thank  God" 
from  those  of  us  surfeited  with  the  "good,  clean  Ameri- 
can"  tripe  so  dear  to   California's   heart.      The    Horton 
company  forms  an  oasis  of  intelligent  entertain- 
ment in  the  arid  desert  of  theatrical  Los  Angeles. 
re  is  an  Edward   Everett   Horton  whose 
whimsical   face  and  droll  humor  are  familiar  to 
the  moving-picture  public.     Even  the  bad  pic- 
tures he  appears  in  do  not  give  you  the  impres- 
;i  that  he  is  a  bad  actor.     I  lis  is  that  very  rare 
quality,  possessed  by  the  chosen  few,  for  which  "da--" 
is   as   good   a  word   as  any.      In   the   environment    of    a 
decent  production,  like  his  film   version  of  "Beggar  on 
Horseback,"  which  was  on  a  par  with  his  own  capacities, 
rsonality  blends  with  the  whole.      In,  on  the  other 
hand,  the  environment  of  such  mediocrities  as  "Sonny 
1 '•        and  "The  Sap,"  his  performances  seem  divorced 
from  the  picture  itself,  standing  alone  as  an  independent 
vigi  ■  kill  and  craftsmanship. 

Horton,  however,  known  to  picture   fans  is  a 

faint,  adulterated  shadow  of  the  Horton  who  i 
over  the  Majestic  Theater  at  Ninth  and  Broad  v. 
Los  Al  '  'urs,  the  I  fortOU  of  "Arm-  ami  the  Man," 

"The  Swan."  el  cetera,  i-  a  rather  superlative  artisl  of 
deft  and  utterly  delightful  productions,     lie  is  to  our 
what  Alfred  I. nut  is  to  New  York.    "From  an 
to  an  institution"  might  well  be  title. 


52 


A  Prophet  vtfitk  Honor 


actly  ten  years  ago,  Horton  made  his  debut  at  the 
Majestic  Theater.  He  had  been  brought  here,  a  stock 
player  of  renown,  for  a  six-weeks'  engagement.  At  the 
end  of  the  six  weeks,  civic  interests  would  probably  have 
had  the  trains  and  highways  watched  had  he  made  an 
attempt  to  leave.  Los  Angeles  took  him  to  her  cap- 
ricious  bosom,  in  a  firm  grip  she  has  never  relinquished 
since. 

Until  about  two  years  ago  the  star  of  the  Majestic 
Theater  stock  group,  he  branched  out  as  an  independent 
actor-producer.  Although  in  the  past  there  had  been 
few  exceptions  to  the  high  standard  of  offerings  in  which 
he  appeared,  with  the  new  regime  he  was  able  to  make 
his  selections  in  complete  freedom.  Since  becoming  his 
own  master,  he  has  not  presented  one  play  which  was  in 
any  way  a  compromise  with  local  taste.  Every  Horton 
vehicle  has  been  a  play  sound  of  construction,  skillful  of 
execution,  and  intelligent  of  subject  matter.  And  the 
production  given  them  on  his  stage  is  always  evident  of 
meticulous  care  and  knowledge. 

Drawn  under  bis  spell  by  the  "Nervous  Wrecks"  and 
"Hottentots"  of  bis  earlier  days,  audiences  still  contin- 
ued to  patronize  him  when  he  slyly  began  to  put  more 
important  material  over  on  them.  Only  Horton  has 
ever  been  able  to  make  Los  Angeles  turn  out  for  Shaw. 
This  feat  was  accomplished  when  he  presented  "Arms 
and  the  Man"  to  his  usual  crowded  bouses. 

When  he  first  opened  as  an  independent  producer  at 
the  Vine  Street  Theater  in  Hollywood,  his  avowed  in- 
tention of  ignoring  the  local  clamor  for  the  mediocre, 
and  doing  only  the  best  of  available  plays,  was  met  with 
grave  bead  shakings  along  the  boulevards.  He  would 
learn  his  lesson.  Optimistic  producers,  with  stubborn 
faith  in  the  survival  of  the  best,  had  learned  it  before 
him.  He  would  turn  either  to  "Mother's  Millions"  and 
"The  Rejuvenation  of  Aunt  Mary,"  or  to  bankruptcy. 

The  joke,  so  it  developed,  was  on  the  doubters.  The 
Horton  personality,  so  charming  and  intimately  a  pos- 
sesion of  Los  Angeles,  not  to  mention  the  suave  Horton 
acting,  drew  his  followers  to  the  only  adult  entertain- 
ment^tolerated  around  these  here  parts.  He  gives  them 
sophisticated   theater   and  makes   them   love   it.      He  is 

unique. 

At  the  Majestic  The- 
ater, whither  he  re- 
turned in  response  to  a 
flood  of  letters  urging 
it  as  the  most  central 
location  accessible  from 
Pasadena  and  other 
suburbs,  business  is 
conducted  in  an  ami- 
able, casual  fashion. 
The  personnel  of  the 
company,  retained  al- 
most intact  by  Horton 
when  he  branched  out 
for  himself,  has  been 
the  same  for  years. 
There  is  a  conspicuous 
lack  of  bustle  or  ten- 
sion.  They  present 
plays,  in  their  various 
capacities  from  stage 
band  to  Horton  him- 
self, because  they  en- 
joy  it.  The  work  is 
exactingly  well  done, 
yet  with  no  apparent 
bint  of  strain. 

The  I  lorton  audience 
is  almost  a  definite  class 


— patrons  who  have  followed  his  work  for  years  and 
usually  attend  a  play  at  least  twice.  On  an  opening 
night,  the  ticket  seller  knows  just  who  will  attend,  and 
in  what  seats  they  will  sit.  Those  of  the  picture  people 
who  discriminate  in  theatrical  fare  are  regular  attend- 
ants. In  particular,  Gloria  Swanson  is  a  rabid  fan, 
always  present  at  openings  and  two  or  three  times  there- 
after. It  is  her  ambition  to  do  a  play  with  him.  The 
possibility  of  this  has  been  rumored  frequently,  but  pic- 
ture demands  have  interfered.  It  is  probable,  however, 
that  her  first  opportunity  will  see  the  ambition  fulfilled. 
Surrounded  by  an  organization  sharing  his  own  incli- 
nations, Horton  is,  nevertheless  and  of  necessity,  checked 
from  proceeding  too  far  in  his  dramatic  desires.  He 
has  a  gnawing  yearning  for  "Cyrano  de  Bergcrac"  and 
"Richard  III,"  which  bis  brother,  who  is  also  the  com- 
pany manager,  has  to  guard  against.  But  since  his 
confreres  give  him  no  trouble  on  other  selections,  Hor- 
ton gracefully  accedes  to  their  advice  on  these  two 
issues.  Even  the  business  faction  of  his  little  group 
share  his  enthusiasm  for  the  "Beggars  on  Horseback," 
"Dover  Roads,"  and  "Serena  Blandishes." 

Plans  in  this  company  are  never  made  ahead.  When 
the}'  decide  that  they  have  had  enough  of  one  play  they 
select  another,  rehearse  casually  before  the  evening  per- 
formance of  the  current  one.  If  they  decide  it  is  not 
sufficiently  interesting  they  look  about,  without  haste, 
until  a  satisfactory  one  is  found.  Sometimes  the  selec- 
tion provides  Horton  with  almost  a  minor  role ;  his  per- 
sonal preeminence  is  not  the  standard  by  which  he 
chooses  plays. 

This  star  of,  variously,  "The  Sap"  and  "The  Swan," 
has  a  ranch  far  out  on  Ventura  Boulevard  where  he 
goes  for  week-ends  among  the  four  dogs,  four  cats,  two 
canaries,  four  hundred  chickens,  and  uncounted  gophers 
peopling  it.  His  house  in  town  is  a  sedate  and  conserva- 
tive structure  in  one  of  Los  Angeles'  more  quiet  neigh- 
borhoods. On  matinee  days,  Horton  gathers  together 
his  cast  and,  without  the  wearisome  task  of  doffing  cos- 
tumes, they  drive  to  his  house,  slip  into  lounging  pa- 
jamas, rest  on  a  spacious  sun  balcony  fitted  with  ten  or 
twelve  couches,  eat  dinner,  and  return  to  the  theater  in 

comparative  leisure. 

Small  wonder  that 
Horton,  coming,  as  he 
does,  from  a  Scotch- 
American  stock  in- 
clined toward  the  more 
graceful,  unhurried 
ways  of  life,  finds 
here  his  happiest  me- 
tier. The  pictures  he 
tosses  off  intermit- 
tently, aside  from  the 
fact  that  their  quality 
often  offends  him,  en- 
tail also  the  noisy  con- 
fusion and  politics  of 
the  studio. 

"Talking  pictures," 
he  thinks,  "are  fine 
stuff,  great  entertain- 
ment, now  that  the 
process  is  improving 
so  rapidly.  They  are, 
of  course,  knocking  an 
awful  hole  in  the  le- 
gitimate theater." 

Not,  one  must  inter- 
ject,   in    the    Horton 
1  heater. 
Continued  on  page  114 


Mr.    Horton    explains    a    droll    situation    to 
Florence  Eldridge,  left,  and  Mary  Astor. 


53 


Suck  Babies 


Who  wants  to  be  grown  up  all  the  time?     Certainly 
not  the  stars. 


1% 


The  Sisters  G.  above,  possessed  of  mother- 
ing hearts  as  well  as  a  wholesome  yen  for 
the  camera,  lavish  maternal  care  upon  Frank 
McHugh,  who  seems  slightly  delirious — 
probably  because  he  hopes  the  little  con- 
tains a  kick. 


im 


Helen  Kane,  up- 
per right,  is  right 
at  home  in  a 
bassinet,  her 
plumpness  not- 
withstanding. 


Lowell  Sherman,  above,  illustrates  what  Holly- 
wood will  do  to  break  down  one's  resistance. 
A  Broadway  sophisticate  pm-  excellence,  he 
clambers  into  a  crib  to  receive  Norma  Shearer's 
reminder  that  it's  time  for  nourishment  and 
-t  '/..  Leonard'-  admonition  to  tal 
while   he 


Janet  Gaynor,  left,  in  "Happy   1  > 
unmistakable  look  of  a  grown-up  actress   who 

ould 
than   to   try. 


5-1 


Photo  by  Fryer 


A  glimpse  into  the  home  life  of  Louise  and  her  mother — and  neighbor. 


La  Fazenda   loos  the  WaVes 


Although   quite  unpretentious,   Louise   Fazenda   is    one  of  the  most  successful  of  players,  holding  her 
steady   course   undisturbed   by   the   dazzling   careers   that  have   come  and   gone  since  her  Sennett  days. 


B?  Myrtle  Gebhart 


AX  unpainted  boat,  mingled  likeness  of  scow  and 
yawl  and  tug,  scuttles  about  the  harbor  of  Holly- 
wood. Battered  by  the  sea,  scratched  by  the  sleek, 
trim  yachts,  the  motor  boats,  and  the  myriad  of  bright 
pleasure  craft  that  skim  the  waters  until  wrecked  by  the 
gale,  the  plain  worker  plows  the  waves  with  stubborn 
nose.  It  has  grit  and  determination ;  it  is  highly  re- 
spected. It  bears  the  name  of 
Fazenda. 

Though  she  never  has  been  a  lead- 
ing lady,  Louise  is  known  and  loved 
wherever  movies  are  shown. 

Courageous  in  facing  physical 
danger,  and  draining  herself  in  con- 
stant, thoughtful  service  of  others, 
she  is  vanquished  completely  by  the 
slightest  glance  of  the  pretty  little 
dumb-bells  which  she  might  inter- 
pret as  disdain.  Often  she  is  in 
misery  over  her  fancied  lack  of 
charm.  Much  of  her  worldly  goods 
and  attainments,  yes,  much  of  her 
own  fine  character,  would  she  give 
in  exchange  for  beauty  ! 

She  admires  those  who  are  im- 
pressed by  her  own  unlimited  beauty 
of  mind  and  character.  That  their 
intuitive  perception  should  be  greater 
than  her  own  balanced  intellect  is 
constantly  a  source  of  wonder  to 
me.  Among  the  pretty  girls,  she 
has  an  air  of  obeisance.  They  and 
all  Hollywood  pay  tribute  to  her 
splendid  qualities. 


Miss   Fazenda   in   real   life   is   a   serious- 
minded  person. 


"Because  they  needn't  fear  me,  I'm  not  good  looking 
enough  to  be  a  potential  rival,  professionally  or  per- 
sonally," is  her  own  explanation,  but  it  is  deeper  than 
that.     Instinctively  they  recognize  her  greatness. 

Fear  of  not  being  popular  results  from  an  early  ex- 
aggeration of  her  plainness.  Knowing  that  her  precious 
independence,  the  armor  behind  which  she  scurries  be- 
fore the  beauty  brigade,  depends 
upon  the  success  of  her  oddness, 
she  prefaces  each  scene  with  a 
prayer,  "Make  this  funny,  please!" 
"People  might  laugh,"  she  once 
said,  "but  God  understands.  It 
means  my  bread  and  butter,  and 
spreading  a  bit  of  happiness.  I  go 
cold  with  fear  that  I  won't  be 
funny.  Then,  intent  on  my  prayer, 
I  look  up  sometimes  to  catch  a 
wondering  glance.  I  get  so  em- 
barrassed. Did  they  catch  on  that 
I  was  praying?  Do  they  think 
I'm  silly?" 

What  can  you  do  with  her?  I've 
given  up.  You  just  smile  at  her 
ridiculous  notions,  and  love  her. 

"A  shifting  personality,"  a  fan 
friend,  Mary  Woodson,  once  de- 
scribed her.  "Vet  those  very  con- 
tradictious, and  the  feeling  one  has 
of  a  margin  beyond,  always  an- 
other corner  to  be  turned,  make 
her  so  fascinating." 

During  her  Sennett  capers,  she 
taught  a  Sunday-school  class.  Even 


La  Fazenda  Tops  the  WaVes 


up  at  a  revival,  verj 

illy,   and   delivered   a   confession   oi 

sins,  nuxt  ol  which  were  imaginary.   There 

arc  mystic  reaches  to  her ;  in  somnolent  moods 

thoughts  travel  into  spheres  of  light  beyond 

our  understand™ 

•\  lined  poise  iIun  year,"  1  remarked 

tlv. 
"I'm   iu-t   in. ire  adept  at   'cover-up,'"   she 
sted. 
However,  assurance  of  lu-r  professional  po- 
sition has  increased  her  confidence.     She  used 
to  throw   an   elaborate   Muster  over  her   un- 
easiness; now,  realizing  more  the  unimportance 
>>f   social  attentions,   she   smiles   at   them   quiz- 
zically from  the  shadow}   corners;  and  eventu- 
ally the  magnetic  power  of  her  draws  them  to 
her.     She   has   learned   to   wait,    instead    of 

Dg. 

Because  she  has  trained  herself  to  concen- 
trate upon  a  wide  range  of  interests,  she  re- 
covers quickly  from  personal  hurts,  and  har- 
bors few.  if  any.  regrets.  Like  Strindberg, 
her  manner  is  beginning  to  say,  "Wipe  out — 
and  jxiss  on."  With  recognition  and  financial 
independence,  she  is  somewhat  less  ill  at 
At  premieres  and  Embassy  Club  parties,  she 
ring  until  sought  out:  then  she  entertains 
with  her  wit  and  ironic  comment  on  social 
shams. 

The  Sennetteers*  parties  were  trying.  Gentle, 
harassed  eyes  watched  the  dainty  charm  of 
Phyllis  Haver.  Marie  Prevost,  Vera  Steadman. 
se  wall-flowered.  She  made  the  fudge 
and  cakes.  What  girl  ever  lived  who  sincerely 
wanted  to  be  called  a  good  sport?  Clowning 
her  "cover-up."  Committing  a  faux  pas. 
she  had  the  faculty  of 
turning  it  into  a  joke  at 
her  own  expense.     The 

s  thought  h< 
fun — but     courted     the 
other  girls. 

Then     she     saw     the 
loophole  of  escape.   She 


How  many  actresses 
would  cheerfully 
disguise  their  good 
looks,  as  you  see 
Louise   now? 


4 


Miss  Fazenda  is  so  "comfortable"  she  is  one  of  the  favorites 
of  the  film  colony. 

acquired  a  snooty  reputation.     In  the  darkest  corner,  where  her 
size  would   seem   less   conspicuous   among  the   delicate,    pastel 
prettiness,  the  job  of  hiding  her  feet,  which  she  thought  un- 
duly big,  was  an  ordeal.     When  the  party  became  unendurable, 
she    bolted.      Thus    a    Hollywood    saying    was    coined. 
"The  partv  had  better  be  interesting,  or  Fazenda  will 
walk  out !" 

Though  often  hurt  in  comedy  stunts,  her  one  attack 
of  physical  fear  occurred  prior  to  "Tillie's  Punctured 
Romance."  scenes  of  which  required  that  she  be 
dragged  by  chariots  pulled  by  runaway  horses.  Har- 
ried by  a  melancholy  intuition,  she  foresaw  injury;  in 
her  methodical  way,  she  prepared  for  her  future  in 
advance,  to  spare  others  worry.  She  increased  her 
life  insurance.  If  she  were  made  an  invalid,  she  would 
disappear,  living  in  Europe  at  a  seashore  village,  under 
an  assumed  name  with  a  paid  attendant.  Financial 
matters  were  arranged.  She  would  not  burden  family 
or  friends  with  her  helpless  self.  She  did  sustain 
injuries  to  her  back  that  trouble  her  still  when  work  is 
rather  strenuous. 

Louise  is  always  nervous  over  something  that  is 
likely  to  happen,  but  never  does.  Working  with  a 
rush  of  energy.  Diving  into  the  kitchen  for 
an  orgy  of  baking — turning  up  at  a  premiere  that  eve- 
ning, in  a  tlurry  of  silk  and  lace.  To  each  occupation, 
rives  an  intensive  personal  interest.  The  marvel 
is  that  she  accomplishes  SO  much,  that  never  is  lu-r 
energy  wasteful.  She  does  thing-,  in  blunt  and  busy 
fashion,  amid  a  melee  threaded  with  an  animated  dis- 
CUSsion  of  varied  topics  slipping  about  in  tin-  area  of 
her  mental  circumference. 


56 


La  Fazenda  Tops  tke  WaVes 


In  her  pigtail  days,  Louise  suffered  from  the  ugly-duckling  complex. 

And  there  is  something  unfinished  about  Louise. 
Many  people  look  complete,  go  in  grooves.  Besides  her 
innate  restlessness,  a  spiritual  quest  is  continuous,  though 
passive,  rather  than  obvious.  It  underlies  all  that  she 
says  and  does  and  is. 

This    Topsy   of    a    modern    wonderland    is    so    many 
thirgs:  the  actor-technician,  devoted  to  detail,  the 
careful  housewife,  the  roamer  along  fantastic  by- 
ways, the  humble  child — selves  that  melt  into  each 
other.     Always  she  asks  the  pleasure  of 
serving.      You    dare   not    do   much    for 
her ;  it  touches  her  too  poignantly.     Her 
surprised  gratitude  over  some  inconse- 
quential  act   embarrasses   both   of    you, 
making  each  feel  silly  and  your  words 
awkward. 

She  showers  upon  others  the  frail 
beauty  that  she  craves.  Those  who  see  only  the 
surface  give  her  practical  things,  which  she  appre- 
ciates beyond  all  ordinary  sentiment.  But  if  you 
give  her  a  small  bottle  of  the  perfume  that  she 
loves  and  denies  herself,  while  she  berates  your 
extravagance  incoherently  the  whole  of  her  spirit 
wells  into  a  great,  choked  tear. 

She  likes  me  to  write  about  her,  when  it  must 
be  done.  "I  don't  try  to  be  mysterious,"  she 
argues,  "but  there  is  a  wall ;  I  can't  seem  to  get 
through  to  most  writers,  nor  they  to  me.  What 
they  write  is  accurate,  but  incomplete." 

How  can  I  take  you  into  that  hedged  retreat  ? 
I  can  only  show  you  a  lot  of  Louises.     Come  with 
us  to  the  beach  house,  in  process  of  renovation  as 
a  birthday  surprise  for  Hal  Wallis,  her  husband. 
The  ear  is  a  clutter  of  yardage  for  drapes,  hooks, 
an  umbrella — it  hardly  ever  rains,  but  of  course 
it  might! — blue-gray  rocks  brought  home  from  a 
trip  to  Oregon,  old  oil  lamps,  shades — 
a    switch    of    brown    hair,    "combings" 
sent    her    by    a    fan,    to   he    worn    in    a 
picture ! 

A  roadside  hawker  is  selling  straw- 
berries. Jam!  She  puts  up  her  own 
preserves.      A  quick   swerve  and   stop. 


Fans  of  1916 
saw  Louise 
Fazenda  as 
the  dumb  lit- 
tle gal  fresh 
from  the  cab- 
bage   patch. 


A  wonder  she  isn't  killed!  At 
Malibu  its  ocean  frontage  nestling 
in  the  curving  arm  of  purplish 
hills;  climbing  ladders,  checking 
specifications,  measuring  for  cur- 
tains, matching  colors.  I  just 
stand  around,  with  Louise,  and 
leel  an  occasional  twinge  of  con- 
science ;  she  won't  let  me  do  things, 
nor  could  I  half  as  well.  Display- 
ing odd  knickknacks:  twisted  iron 
standards,  trick  boxes,  modernistic 
ash  trays,  old  brass  kettles,  a 
homely  motto  that  reflects  herself, 
something  about  sanctifying  com- 
mon sense. 

Will   you   join   us    for   an   eve- 
ning's   entertainment?     Our    itin- 
erary is  indefinite.     We  may  dine 
at    her    home,    or   a   popular    res- 
taurant,    or     sample    a    plentiful 
Swedish    smorgasbord,   or   Jewish 
gcfucltcrfisch,   or   Mexican   enchi- 
ladcs  and  quesadillos,  according  to 
whim.     We  may  end  up  at  an  all- 
night,  main-street,  Mexican  movie 
in  Sonoratown,  at  a  fortune  teller's, 
or  at  the  Ambassador.    You  never 
can  tell.     She  is  prepared  for  any 
emergency,  with  a  rumpled  wad  of 
bills    in   her   purse   of   an   overnight 
bag's  proportions.     Fantastic  dreams 
become    actualities    on    these    excur- 
sions. 

Her  town  flat,  half  of  which  she 
rents,  is  well  appointed,  old  and  odd 
things  robbing  it  of  a  too-fresh  pol- 
ish.    Guns  along  the  walls  form  an 
arch  over  the  stairs,  firearms 
from    flintlocks    to    modern 
weapons.      Italian   paintings, 
and  one  of  Lola  Montez,  the 
dancer  whose   dramatic   and 
ironic  story  intrigues  Louise. 
A     framed     Venetian     fan. 
Bronze    clocks.      Com- 
fortable armchairs  and 
divans. 

Louise  is  dressed,  for 
our  dinner  at  home,  in 
black  silk  pajamas.   Her 
hair  is  brushed  back,  off 
her  high,   tanned   fore- 
head.    There  is  a  sleek,  modish 
look  about  her.     A  year  or  two 
ago  she  was  all  bulged  out  with 
i  V  flounces.    With  professional  pres- 

1 1  \      tige,  she  has  acquired  a  smoother 
look. 

We  talk  in  a  droning  murmur, 
yL<         with   a   snappy   Sealyham  and  a 
droopy  Scotty  at- our   feet.     Or 
she  discusses  the  species,  peculi- 
arities  and    intentions   of    cactus 
with  a  like-minded   friend.     We 
invade  the  attic.     Friends  unearth  old 
garments,    delighted    if    she    finds    them 
suitable,  fans  send  her  things  to  use;  it 
is  an  honor.     She  advises  them  in  what 
film    their    apron,    bag,    or    hair    switch 
will  act! 

Continued   on    page    111 


57 


Men    About 
Tovtfn 


iy  •>lr|  ii:i<l<ly 


58 


-Ml   photos   by   Fryer 

Walter   Pidgeon  says  he  does  not  like   romance — but  read 
what  happened  in   Vienna. 

HERE  is  a  player  who  declares  that  he  does  not 
know  why  he  is  acting. 
Here  is  a  man  who  swears  he  entered  pictures 
only  because  he  lost  his  money  play- I 
ing  the  stock  market. 

Here  is  a  movie  actor  who  insists 
upon  being  ordinary,  without  benefit 
of  romance,  or  glitter,  or  love-mak- 
ing. 

1  [ere  is  Walter  Pidgeon. 

Where  I  ask,  is  the  glamour  so 
noticeable  in  the  average  player? 
Where  the  dash  and  pose?  Where 
a  message  to  his  public?  Where, 
most  important  of  all,  the  great 
lover?  If  Mr.  Tidgeon  is  as  casual 
as  he  insists  he  is,  one  wonders  why 
his  eyes  are  not  ordinary.  Where 
they  should  be  dull,  they  possess  a 
constant  glitter — almost  a  glazed 
look.  And  be  it  duly  known,  Wal- 
ter docs  not  drink.  This  is  as  well 
known  in  film  circles  as  the  existence 
of  the  talkies.  Therefore,  one  is  left 
to  ponder  again  why  Walter's  eyes 
shine  so  fixedly. 

(  >f  course  he  is  always  laughing. 
He's  bright  and  cheerful,  lie  al- 
ways has  some  humorous  comment 
to  make,  especially  at  his  own  ex- 
pense. 

The  funny  pari  of  it  is  that  al- 
though his  work  in  pictures  during 
the   past    five   years   has   been   brief 


Driven  to  an 

Walter  Pidgeon  became  an  actor  only  because  he 
traditional     rights     of     a     Thespian  —  romance, 

to  his  dear 

By  William 

and  scattered  the  Pidgeon  personality  has  remained  in 
the  minds  of  many  fans  who  chanced  to  see  the  few 
pictures  in  which  he  played. 

He  was  born  in  Xew  Brunswick,  Canada,  one  of 
several  sons.  All  the  Pidgeon  clan  were  made  to  study 
music.  Yet,  strangely  enough,  all  have  become  doctors, 
lawyers,  and  brokers.  Only  Walter  received  the  divine 
fire  from  Apollo  and  chose  a  romantic  profession.  He 
swears  that  he  did  not  choose  it  for  this  reason.  He 
chose  it  he  insists,  because  it  pays  well.  He  was  left  a 
widower  in  his  early  twenties.  To  recover  from  the 
shock  of  losing  his  wife  he  traveled  in  Europe  visiting 
Paris,  Berlin,  Rome,  Vienna.  The  Pidgeon  also  took 
some  vocal  lessons  in  Italy  to  occupy  bis  time. 

It  was  when  he  came  back  to  New  York,  after  a 
year's  absence,  that  he  played  the  stock  market.  He 
soon  learned  that  a  chap  who  has  been  taking  singing 
lessons  in  Europe  should  never  dabble  in  Wall  Street. 
He  lost  his  all. 

Perhaps  it  was  a  good  break  of  bad  luck,  for  it  drove 
Walter  to  the  stage.  At  least  he  uses  the  word  "drove" 
when  mentioning  this  episode. 

Somehow  after  a  few  concerts  he  got  a  chance  in  an 

Elsie  Janis  revue,  and  thus  entered  the  theatrical  world. 

In  the  latter  part   of    1925   Walter  was   signed   by 

Joseph  Schenck  and  sent  to  Hollywood  to  play  opposite 

Constance  Talmadge  in  what  was  to  be  "East  of  the 

Setting  Sun."     The  film  was  never  made.     Erich  von 

Stroheim  could  not  carry  through  his  plans  as  scenario 

writer,  director,  and 
leading  heavy,  the  man 
you  love  to  hate. 

All  these  Hollywood 
complications  bothered 
Walter  not  one  bit.  He 
continued  to  draw  his 
salary  for  six  months, 
without  working  a  day 
for  it. 

Floundering  about,  he 
finally  got  the  role  of 
the  young  reporter  in 
Dolores  Costello's 
"Mannequin."  In  "The 
Desert  Healer"  he  was 
cast  as  the  heavy.  And 
good  work  he  did  too. 
There  was  another  pic- 
ture with  Anna  Q.  Nils- 
son  then  "The  Gate- 
way of  the  Moon"  in 
which  he  was  mixed  up 
with  Dolores  del  Rio 
and  Leslie  Fenton  not 
forgetting  the  tropical 
climate; 

Walter    lost    his    money 

in  a  stock  gamble,  so  he 

turned  to  the  stage. 


59 


Actor's  Life 

needed  a  job.  and  he  does  not  care  a  rap  for  the 
glamour  and  the  delivery  of  weighty  messages 
public. 

H.  McKegg 

ngth  of  "Mannequin,"  the  fans  desired, 

nay  clamored,  for  all  the  details  about  this  handsome 

strar. 

Accordingly  in  the  early  part  of  1926,  Picture  Play 
I  my  penetrating  fellow-scribe,  Margaret  Reid, 

to  interview  this  Pidgeon  fellow.  La  Marguerite  did 
and  was  duly  impressed.  With  maidenly  modesty, 
I  she  in  part.  "He  is  quite  the  handsomest  player 

that  the  colony  has  greeted  in  some  time.  (  hrer  six 
:  of  athletic  build.    His  eyes  are  blue  and  humorous. 

Healthy,    tanned    complexion,    black    hair,    nice    hand-. 

contagious  smile.     In  fact,  my  dears,  he  is  very  good 

look: 

1  quote  this  from  la  Marguerite's  rhapsody,  as  she 

s  the  descriptive  stuff  where  males  are  concerned 
than  I. 
In  spite  oi  the  commotion  he  was  causing,  Walter 
Pidgeon  disappeared   from  the  movies  as  suddenly  as 
he  had  entered  them. 

This  year  Walter  has  reentered  them.  Already  he 
has  played  and  sung  in  r-->  operettas.  "Bride  of  the 
Regiment"  and  "Toast  of  the  Legion."  Corinne 
Griffith  made  them  both  in  dumb  films  several  years 
ago.  Now  with  Victor  Herbert's  music  and  Singer 
we  ought  to  be  entertained.  For  unlike 
many  screen  singers,  Walter  can  also  act. 

It  was  seemingly  proper  that  I  get  hold  of  Mr.  Pid 
and  try  to  ascertain  what  he  had  been  doing — or  rather 
why  he  had  not  been  doing  something  during  the  two 
years  of  his  absence. 

On  a  very  wet  day  I 
joined  him  for  lunch  at 
the  first  National  restau- 
rant. Expecting  a  long- 
winded  story.  "What 
you  think  of  your  lucky 
break?"  I  asked. 

Smiling  intimately  at  a 
era    girl    Mr. 
Igeon    said.    "To    be 
truthful,    Mac,    I    never 
e  it  a  thought." 
Walter  refused  to  un- 
bend.     Xo    bosh    about 
art    and    self-expre- 
m  him. 

Young   Marilyn    Mor- 
gan trailed  into  the  din- 
room  looking  like  a 
'en  wraith.  Of  course 
Walter  had   to  converse 
with  her. 

ddenty  I  got  an  in- 

ition.     Xo   romance. 

no  love  interest  from  this 

hard-boiled  chap  for  the 

Mr.    Pidgeon    is    difficult 

to    interview,   because   he 

insists  upon  being  sanely 

ordinary. 


/ 


In  spite   of   his   brief   appearances,   Walter    Pidgeon   is   re- 
membered  by   the   fans. 

fans.  It  would  be  a  businesslike  story.  Blunt.  Hard. 
"Pidge"  had  lost  his  money  gambling.  A  gambling  yarn 
we'd  make  it.  There  was  my  angle.  '  rambling.  A  gamble 
on  the  stage  after  loss  of  money.  A 
gamble  coining  to  Hollywood  and 
the  movies.  A  gamble  while  in  them. 
A  gamble  while  OUt  of  them. 

"Quick,  Pidgeon!  Tell  me  what 
yon  did  during  the  two  years  yon 
were  off  the  screen." 

"Having  X  rays  taken  of  my  in- 
side-." 

Insides!    T  push  aside  my  halibut. 

"I  suffered  from  strange  pains  in 
my  chest.  No  one  could  find  out 
the  cause.  I  spent  over  six  hun- 
dred dollars  on  X  rays  before  the 
doctors  realized  that  I  had  to  have 
my   gall   bladder    removed." 

'Aon  had  too  much  gall.  It  had 
to  be  removed.  The  mosl  natural 
thing  in  the  world." 

Bui    Walter    continued.    ign< 
all  slaps  at  humor. 

"Naturally  it  took  me  a  long  time 
to  recover.    1  had  to  give  up  vai 
offer-  in  pictures.     To  regain   my 
strength  I  traveled  about  the  i 

try.     Went  up  to  Canada." 
"  \nd  now  you're  b 
"Now  I'm  back." 
Punch    was    over    and    | 

Xot  even  a  hard-boiled  • 
inut  '1  on 


CO 


r  t 

u 


r4 


The    hardships    of    the    artist's    life:     Barbara    Kent    and 
Harold  Lloyd  in  a  scene  for  "Feet  First"  aboard  a  Hono- 
lulu steamer. 

GRETA  GARBO'S  first  real  rival  is  about  to  glow 
upon  the  screen.  Marlene  Dietrich,  we  prophesy, 
will  challenge  the  dazzling  Swedish  star's  undis- 
puted reign  of  popularity.  We  have  seen  only  a  test  of 
her  in  the  films,  hut  it  is  enough  to  convince  us  of 
her  approaching  destiny.  She  is  beautiful,  magnetic, 
mysterious,  and  as  lethal-eyed  as  her  Scandinavian 
rival. 

( rarbo  we  glimpsed,  too,  in  "Romance,"  and  with 
somewhat  diminished  enthusiasm.  The  picture  will 
never,  we  believe,  win  her  followers  as  did  "Anna 
Christie."  The  Garbo  sway  may  even  be  over  after 
it  is  shown.  It  was  a  little  too  much  to  ask  of  her 
to  speak  with  an  Italian  accent,  and  though  she  is 
radiant  pictorially  as  she  lias  always  been,  the  nat- 
ural attractions  of  her  voice  are  not  displayed  as  they 
were  in  the  role  of  the  embittered  Swedish  girl  in 
her  first  talkie.  The  Garbo  illusion  must  of  necessity 
therefore  evanesce,  even  more  than  it  did  in  the  Eugene 
O'Neill  play. 

Dietrich  also  ha-  an  accent,  but  it  is  not  obtrusive. 
She  possesses  a  sirenic  charm  comparable  to  Garbo's, 
and  so  there  is  no  telling  what  an  upset  she  may  cause 
in  .that   fascinating  Lorelei's  destiny. 


*       mm       I     m      m      i    •        ■    t        • 

Visioning  and  verbalizing  the  news 
and  gossip  of  a  merry  studio  world. 


Devotion  of  Motherhood. 

Miss  Dietrich,  we  learn,  is  the  mother  of  a  Eour-year- 
old  daughter,  who  is  still  in  Europe.  Her  husband  and 
she  separated  about  two  years  ago. 

She  loves  the  child  devotedly,  and  even  long-dista 
her  occasionally  to  Berlin. 

When  she  played  on  the  stage  in  Berlin  she  would  al- 
ways hasten  home  around  supper  time  in  order  to  tuck 
her  little  girl  in  bed,  between  matinees  and  evening  per- 
formances, or  during  rehearsals.  This  was  despite  a 
considerable  distance  from  the  theater  to  her  home. 

Hail  and  Return! 

Emil  Jannings  will  star  in  a  Hollywood  picture.  It  is 
called  "The  Idol"  and  will  be  filmed  by  Warner  Brothers. 

We  knew  when  Emil  left  Hollywood  that  he  would 
never  be  happy  until  he  returned.  He  exhibited  the  air 
of  one  going  into  exile  when  he  left  the  film  colony. 

Deep  down  in  Emil's  heart,  doubtless,  lurks  the  senti- 
ment that  he  was,  after  all,  born  in  America,  and  he  feels 
that  he  wants  to  achieve  complete  success  here. 

It  is  probable  that  a  second  picture  will  be  made  by 
him  following  "The  Idol-."  He  will  also  do  German 
versions. 

Varconi  Caballeros. 

Victor  Varconi  is  another  rcvcnant — meaning  "re- 
turner." Attired  in  very  ornate  Mexican  costumes  and 
sombrero,  he  is  to  be  seen  in  "The  Gay  Caballero." 
Victor  plays  the  romantic  lead,  and  Frank  Fay,  originally 
scheduled  for  that  role,  is  to  be  the  comedian.  It  was 
felt  that  Fay  might  cause  a  romantic  character  to  be 
altogether  too  amusing,  whereas  Victor  is  generally 
serious. 

We  know  Varconi  is  still  popular,  because  one  fan 
writes  us  a  letter  a  week  regarding  him,  and  we  have 
heard  many  other  people  inquire  as  to  when  he  would 
likely  rejoin  the  Hollywoodians. 

Ruth  the  Champion. 

The  first  lady  of  movieland  is  Ruth  Chatterton.  An 
English  vote  on  the  voices  of  stars  has  decided  this. 
Ruth  was  the  overwhelming  favorite  in  this  poll,  among 
the  women,  with  Norma  Shearer  her  only  near  rival. 

Ruth  looked  pale  and  interesting  the  last  time  we  saw 
her  at  a  beach  party  given  by  Director  Wesley  Ruggles. 
Her  illness  from  influenza  and  much  hard  work  left  her 
a  bit  wan,  but  she  is  more  attractive  than  ever  because 
of  this. 

Ruth  came  to  the  party  for  only  a  few  minutes,  and 
was  attired  in  the  smartest  green-velvet  beach  pajamas 
that  we  have  seen  this  season. 

Guests  at  the  Ruggles  party,  which  was  given  in  honor 
of  Wesley's  brother  Charlie,  also  included  Colleen 
Moore,  William  Haines,  Marie  Prevost,  Richard  Dix, 
Carlotta  King,  Robert  Woolsey,  Bert  Wheeler,  Phillips 
Holmes,  Kathryn  Crawford — who  was  hostess — Robert 
Chisholm,  and  others.  Among  this  group  we  noted  that 
young  Holmes  shone  forth  as  a  most  unusual  personality, 
lie  has  a  definite  spiritual  quality.  The  cut-ups  of  the 
affair  were  Charlie  Ruggles.  Haines,  and  Miss  Prevost. 
Beach  parties  always  manage  to  be  especially  merry. 


.,1 


T  T  •  //  T    •  // 

■   •  ■  ■  •  ■ 

Eduiii^hlza  OchaUett 

Colman  Also   Victorious. 

In  the  English  contest  that  gave  Miss  Chatter- 
ton  first  feminine  honors,  the  loader  among  tin- 
men was  Ronald  Colman,  with  Clive  Brook  and 
George  Arliss  as  the  runners-op.    Colman  is  more 

than   holding  his  place   in  the  talkies,   as   this   evi- 
deno 

This  popular  star  has  returned  from  his  trip  to 
England,  where  he  spent  most  of  the  time  with  his 
friends,  Mr.  and  Mrs.  Ernest  Torrence.  and  Wil- 
liam Powell.  We'll  venture  it  was  a  congenial 
and  easy-going  holiday  when  these  four  got  to- 
gether, though  we  haven't  yet  had  a  chance  to 
check  up  with  Colman  on  how  he  spent  his  vaca- 
tion. 

Family   Not   Augmented. 
.  Zasu  Pitts  hasn't  adopted  five  children.     It's 
all  a  mere  rumor,  notwithstanding  the  newspaper 

reports.     We  learned  this  upon  inquiry. 

Zasu  has  her  own  youngster  and  Barbara  La 
Marr's  adopted  child  under  her  wing,  o\  course. 
hut  she  hasn't  assumed  the  responsibility  for  her 
three  youngsters,  as  reported. 
She  declares  it  is  very  unfair  to  her  hrother-in-law. 
who  is  undertaking  their  care. 

The  way  the  rumor  started  was  that  Zaun's  hrother- 
in-law  was  taken  ill  after  his  wife's  death,  and  she  lent 
him  some  aid  during  this  particular  time  in  looking  out 
for  the  welfare  of  his  offspring.     Zasu  has  always  been 
devoted  to  her  relat 

Maureen  Verses  Janet. 
What  an  ironic  thing  this  is !     The  very   songs  that 
:i  disappointing  influence  on  Janet  Gaynor's  career 
in  "Sunny  Side  Up"  are  the  ones  that  enabled  Maureen 
-ullivan  to  win  her  big  chance  in    "Just    Imagine." 
When  it  came  time  g  test  for  this  picture.  Mau- 

reen  was   a-ked   if   she  would  warble   "I'm   a   Dreamer, 
n't  We  All?"     So  well  did  she  sing  the  song  that  she 
a  hit  immediately. 
Jam  •  t   want  to  do  any  more  musical   pictures. 

wc  hear.     Also  she  hopes  that  she  won't  have  to  play 
anv  more  sad-eyed  and  weepy  roles  for  a  long  time.     It 
-ry  probable,  we  learn,  too.  that  she  will  he  granted 
her  wish. 

There  are  four  pictures  that  she  is  to  do  in  the  next 
few  months,  and  Charlie  Farrell  will  he  her  hading  man 
in  only  one  of  them.  John  Garrick,  Kenneth  MacKenna. 
and  Humphrey  Bogart  are  to  play  opposite  her  in  the 
others.  The  titles  don't  sound  exactly  momentous,  hut 
then  they  may  be  changed.  With  Garrick  she  i<  to  star 
in  "Alone  With  You";  with  MacKenna,  in  "One  N'itdit 
in  Paris";  with  IV.gart.  in  "Barcelona";  and  with  Far- 
rell, in  "Oh.  for  a  Man!" 

Josephine  Velez  Debuts. 
Lupe  Yelez  now  "        in  the  movies.    Her  name 

•u'ne  Velez.    They  ]<»i\<  enough  alike  to  he  twins, 
although  J-  and  two  months  older.    Lik<- 

Lupe  she  was  on  t! 
an  expert  i  ind  dam  • 


Maureen  O'Sullivan  is  up  in  the   air  because  she   is  chosen  for 
the  heroine  of  "Just  Imagine,"  a  flight  into  the  realms  of  fantasy. 


Josephine  will  he  seen  as  a  Cuban  cigarette  girl  in 
"Her  Man."  which  features  Helen  Twelvetrees,  Mar- 
jorie  Rambeau,   Phillips    Holmes,  and   Ricardo   Cortez. 

Maybe  she  will  break  the  hoodoo  that  seems  to  hang 
over  so  many  a  star's  relatives  when  they  attempt  the 
screen. 

The   Hoodoo   Rampant. 

Two  players  in  Hollywood  arc  suffering  from  jinxes. 
One  is  the  tempestuous  Mary  Duncan;  thd  other  the 
stoical  <  ieorge  <  >'Brien. 

Mary's  jinxes  entered  her  lift-  when  she  left  for  the 
Last.  She  was  to  he  starred  in  a  stage  play,  but  the 
producer  lost  heavily  in  the  stock  market.  Then  she 
was  taken  ill.  and  right  in  the  midst  of  these  two  unfor- 
tunate events  occurred  the  sorrow  of  her  father's  death. 
She  has  come  hack  to  the  movies,  though,  to  essay  one 
of  the  very  best  roles  she  has  ever  played,  in  "Kisn 
So  the  rainbow  shines  again. 

(  >'Brien's  griefs  arc  all  connected  with  pictures,  and 
a  real  Jonah  seems  to  pursue  him.  Some  time  ago  he 
broke  a  hone  in  his  foot  during  a  fight  scene.  He  caught 
his  foot  in  a  knot-hole  in  a  cabin  floor  and  twisted  it,  thus 
causing  the  fracture. 

Later  a  microphone   fill  on  his  head,  and  all  bul 
located    a    vertebrae.       Xurses    had    to    work    with    him 
for  an   hour  or   so   to   relieve   the   pain    from    which 
suffered. 

Still  more  recently  George  was  dodging  the  fire  of  a 
sharpshooter  behind  a  tree.     Blanks  were  used   in 
gun,  hut  the  wadding  of  the  cartridge  happened  to  strike 
the  hark  of   the  tree  and  chipped   off  a   piece   which   hit 
O'Brien   in   the   lip.   and    resulted    in   a   laceration.      This 
had   just    finished   healing   when    we   last    saw   him. 
aid  that  of  the  three  casualties,  the  bun 
the  head  was  the  most   satisfactory  in  the  long  run.     "If 


02 


Hollywood  Higk  Lights 

Patsy  had  her  revenge  at  the  climax,  when  she  applied  her  foot 
gracefully  but  efficaciously  in  a  kick  that  all  hut  sent  Inez  sprawling. 

Miss  Courtney,  with  her  unusual  sense  of  humor,  was  probably  the 
cleverest  girl  of  the  evening,  though  entered  in  the  competition  were 
Carmel  Myers,  singing  "Ten  Cents  a  nance"  Adele  Rowland — Mrs. 
Conway  Tearle — Irene  Delroy,  and  others. 

We  learned  for  the  first  time,  too,  at  this  affair  that  Anita  Page  and 
Mary  Brian  are  very  great  friends,  having  known  each  other  since 
they  were  in  New  York  together.  Anita  rushed  over  to  Mary  as  soon 
as  she  arrived,  and  they  sat  beside  each  other  throughout  the  enter- 
tainment. 

Eisenstein  Observes. 

The  advent  of  Sergei  Eisenstein,  the  Russian  director  who  made 
"Potemkin,"  was  celebrated  with  a  studio  luncheon.  He  is  considered 
the  most  important  personage  concerned  in  the  making  of  pictures  to 
arrive  in  a  long  time.  He  is  to  the  Russian  films  what  Ernst  Lubitsch 
was  to  German}-. 

Eisenstein  has  gained  a  reputation  for  clever  speeches,  which  he 
gives  in  very  good  English.  His  attitude  toward  Hollywood  is  one  of 
mild  amusement,  for  he  finds  it  a  very  fantastic  place. 

"The  symbol  of  Hollywood  is  the  miniature  golf  course,"  he  told 
us.  "People  throng  there  and  putt  a  little  ball  around  the  course,  and 
all  the  time  they  do  this  they  wear  a  most  serious  expression  on  their 
faces,  as  if  it  were  something  most  important  that  they  were  doing." 

We  suspect  that  Eisenstein  is   just  a  trifle  ironic  about  the  film 

metropolis. 


Marguerite 

Churchill  has 

acquired  a  "new" 

personality,  even  t 

lovelier  than  her  former  one,  and  this  is  it. 


I  ever  happen  to  forget  to  keep  an  appoint- 
ment, or  do  anything  else  that  I  should  re- 
member," he  said,  "I  can  always  blame  it 
on  the  after  effect  of  that  thump  from  the 
microphone." 

Tearle  Seeks  Respect. 

Everybody  seems  to  be  coming  to  Holly- 
wood rather  than  going  elsewhere  this  sum- 
mer, but  Conway  Tearle.  in  his  very  indi- 
vidual way,  has  decided  to  he  different.  He 
is  sojourning  in  England,  and  may  fill  a 
Stage  engagement  there.  "I'm  going  hack- 
to  a  place  where  age-  is  respected,"  he  told 
us  on  the  eve  of  his  departure,  "and  where 
every  man  who  has  reached  maturity  isn't 
treated  as  if  he  were  going  around  in  a  wheel 
chair." 

Conway  expressed  himself  facetiously,  of 
course,  but  he  is  disgusted  with  his  luck  of 
late  in  movieland.  His  performances  in  talk- 
ing pictures  have,  incidentally,  been  excellent. 


Ladies  Will  Live. 

Ladies  will  not  he  left  out  in  club  life,  and 
actresses  have  just  as  much  right  to  organize 
as  actors. 

For  which  reason  we  now  announce  the 
existence  of  a  new  social  group  that  is  called 
the  Domino.  This  is  a  rival  of  the  men's 
club,  the  Masquers,  and  glories  in  a  very  large 
membership  and  a  lovely  old  Hollywood  home 
where  the  meetings  are  held. 

We  saw  the  Dominos'  first  entertainment, 
and  were  much  amused  by  the  burlesque  ballet,  in 
which  Patsy  Ruth  Miller  and  Inez  Courtney  were 
starring  comediennes.  Patsy  and  Inez  travestied  an 
adagio  dance.  Inez  would  catch  Patsy  on  the  leaps 
and  then  promptly  drop  her  on  the  floor.     Finally 


Indefatigable  Raquel 
Torres,  ever  ready  to 
pose  with  a  handker- 
chief or  a  load  of 
brick,  tries  her  luck 
with   a  giant   saurian. 


ho 


A  Jinxy  Wedding. 
Unlucky    to    be   a    bridesmaid?      Who 
ever  thought  of  such  a  thing?     But  what 
is  one  to  say  to  this? 

When  Sally  Eilers  was  wedding  Hoot 
Gibson    she    chose    for    her    attendants 
"Bubbles"     Steiffel,     Reginald     Denny's 
wife,  and  Jeanette  Loff.    Both  girls  were 
delighted  with  the  prospect  of  taking  part 
Sally's  wedding,  hut  when  the  eventful 
day  came  it  found  both  of  them  in  the 
spital,     recovering     from     appendicitis 
operations. 

We'd   call  bridesmaiding  rather 
fateful  on  this  occasion. 

Sweet  Music  Stilled. 
Pity  the  poor  song  writer.  After 
an  era  of  honey  and  riches,  he  is 
in  sad  disrepute.  Musical  pictures 
aren't  going  well,  and  most  of  the 
Tin  Pan  Alley  folk  may  soon  be 
shipping  back  to  Broadway. 

The  films  gave  them 
more  wealth  than  they 
ever  knew  existed,  and 
they  blithely  invested  in 
the  largest  automobiles 
they  could  buy.  They 
had  a  real  holi- 
day. 

Xot  so  long 
ago  at  the  First 
National  studio 


Hollywood   High   Lights 


63 


somebody  observed  a  man  trun  .  wheelbarrow,  in 

which  throe  or  four  dummies,  Mich  as  ar*.-  thrown  over 
cliffs  in  the  place  of  stars,  were  being  carried. 

"W  ell.  what's  that? 

►h,"  replied  the  other,  "just 
their  way  home  to  New   York." 


friend  asked, 
a   few 


composers  on 


Songbirds   Warble   On. 

The   singers  don't   seem   to   suffer  as   much   as   the 

writers  just   now.     Lawrence  Tibbett  ami  Grace   .Moore 

arc  appearing  together  in  "The  New   Moon,"  and  at  the 

tio  a  new  production  is  scheduled  for  Jose  Mojica. 

Those  who  have  seen  Mojica's  first  picture.  "One 
Mad  Kiss,"  say  that  it  is  exceptionally  good. 

There  were  troubles  in  the  filming  oi  this  picture,  and 
Mojica  had  an  unhappy  time  of  it  at  the  studio.  Hut 
he  has  apparently  received  the  approval  that  cheers,  lie 
is  a  good-looking  young  man.  and  though  he  hasn't  a 
lar^c  voice,  it   records  most   satisfactorily. 

Bill  Hart  the  Hero. 

One  thing  that  will  lie  talked  about  for  a  long  time 
was  the  ovation  for  Bill  Hart,  when  he  did  some  recita- 
tions recently  on  the  E  the  Chinese  Theater.  Bill 
came  out  of  his  hermitage  on  a  Saturday  evening  to 
entertain  the  crowd  at  Sid  Grauman's  behest,  and  the 
famous  Hollywood  showhouse  shook  with  applause.  Bill 
not  only  recited  hut  reminisced.  The  audience  was  de- 
lighted, and  cheered  him  when  he  said  that  some  time 
-  n  he  hoped  to  play  in  another  picture.  Roso  >e  Arhuckle 
shared  in  the  big  tribute,  too.  when  he  introduced  Hart." 

It  seems  that   George   Bancroft   was  in  the  audience. 
and  after  Hart  had  finished  on  the  stage  he  joined  the 
erstwhile  idol,  and  the  two  had  a  talk  together  that 
':   fully  an  hour.     Bancroft  and  Hart  enter- 
tain a  strong  admiration  for  each  other's  work. 

Misunderstood  Slang. 

Filmland  has  a  new  expression  for  "Go  Jump 
in  the  river."  It's  "Walk  West  till 
your  hat  floats."  The  inference  being 
that  whoever  would  do  this  would 
gradually  he  submerged  in  the  Pacific 
Ocean. 

"But  what."  queried   one  of    Holly- 
d's  prettiest  dumb  belles,  "would 
happen  if  he  didn't  have  a  hat?" 

Whereupon  Jimmy  Gleason.  who 
happened  to  be  listening  in.  choked  on 
his  coca  cola. 

Stork  Flies  Again. 
And  here's  a  hit   of   news  that   we 
simply  must  relay.     The  rumor  is  go- 
in?  around  that  Florence  Vidor  and  her 
1.  Jascha  Heifetz.  are  expecting  the 
and  very  soon. 

The  Kindly  Deed. 

1-  there  loyalty  among  film  pla 
answer   is,   decidedly.      And   it    is   show 
the   manner   in   which   picture    folk   recentl 
came  to  the  front  to  assure  proper  burial 
Earl  Williams,  a  favorite  of  the  old  days. 

Williams  left  a  considerable  fortune  w 
lied,  but  his  wife  was  badly 
advised   and   pot   into   financial 
difficulties,  which  have  air 
been  described  in  newspaper  ac- 
coir 

It  looked  for  a  time  as  if  the 
remains  of  Williams  would  l>e 


Renee  Ado- 
ree's  long  rll- 
n  e  s  s  ended, 
she  will  soon 
let  her  charm- 
ing accent  be 
heard  again. 


removed   from  a  vault  that   was  their  leinporan 

place,  and  disposed  of  by  burial  quite  inadequate  to  his 

prominence. 

Friends,  however,  got  together  and  arranged  for  his 
interment    in    a    permanent    vault    in    one   of    the    lai 
cemeteries,  just  as  soon  as  they  heard  of  the  prop. 
disposal  of  the  bod) . 

Character  Actor  Passes. 

Anders  Randolph,  noted  Danish  character  actor,  who 

was  a  familiar  heavy  of  the  old  silent  days  and  had 
played  in  talkies,  ton,  recentl)  passed  away.  Mr  had 
been  in  pictures  for  many  years,  and  doubtless  nut  a  few 
tans  will  recall  his  convincingly  dour  appearance  in  many 
clever  portra)  als. 

Randolph  was  a  painter  as  well  as  an  actor — indeed  a 
singularly  gifted  man. 

Radio   Idols   Arrive. 
And  now  we  know    Amos    n'   Andy — in   person,  not  a 
pair  of   radio  void-. 

We  nut  Freeman  Gosden,  part)  of  the  first  part,  and 
Charles  Correll,  party  of  the  second  part,  at  a  reception 
given  in  their  honor  by  the  RK(  >  studio  at  the   I'.evcrly- 
Wilshire    Hotel.      They    had    just    arrived    in    town 
make  their  first  starring  picture. 

They  are  a  couple  of  very  pleasant  chaps,  who  spent 
their  time  entertaining  a  throng  of  writers  with  infor- 
mation about — how  they  "check  and  double  check,"  and 
approval  was  voiced  everywhere  of  their  amiability. 
Amos  was  the  most  enjoyed  for  his  wit  and  his  South- 
ern drawl.  Andy  is  apparently  the  business  head  of  the 
partnership,  and  figures  very  largely  in  the  writing  of 
the  skits  which  the  pair  give  on  the  air. 

Both  are  married  and  were  accompanied  by 
their  wives  to  the  Coast.  Amos  has  two 
youngsters,  a  hoy  of  three  years,  Freeman.  Jr., 
and  a  daughter  of  three  or  four  months, 
Virginia  Marie. 

Strangely     enough,     their    wives    have 

never  been   in  the  radio  room  when  the 

two    have    broadcast.      The    entertainers 

like  to  feel  that  they  are  appealing  to  an 

invisible  audience. 

\  When  Amos  was  asked  whether  Andy 

\       had    any    children,    lie    smilingly    replied, 

"No,  though  we're  both  in  the  Fresh  Air 

Taxi  Company  together,  I'm  the  only  one 

/        that's  in  the  baby  business  as  yet." 

A   Millionaire   Chief. 
Amos  'n'  Andy  were  not  the  only  cele- 
brated   recent    arrivals.      With    consider- 
able   eclat    there    came    into    town    none 
other  than  Chief  Bacon  Rind.     And  in  case 
you  don't  know  who  he  is,  let  us  remark  with 
due  trumpeting  that  he  is  a  millionaire  ( I 
Indian  from  Oklahoma.     Pie  made  his  money 
in  oil  royalties. 

Chief  Bacon  Rind  was  accompanied  by  fifty 
other  millionaire  Indians,  all  of  whom  are 
lending  atmosphere  to  "Cimmaron,"  starring 
Richard  Dix. 

Money  wasn't   the  thing  that   app 
this  novel  assemblage.    They  desired  to 
tray  their  own  people  in  the  proper  light. 

Roll    Call    Colorful. 
The   movie   roster   i~    richer   by   three   more 
startling  names.      At   least,  they  are  odd   i 
startling.     View  them.  1 1 

'00 


64 


Kid  Sisters 


The  stars  help  the  little  girls  along. 


Terry  Carroll. 
right,  Nancy's 
sister,      will 

surely  add  to 
the  honors  of 
the  LaHiff 
family,  start- 
i  n  g  with  a 
short,  "The 
Home  Edi- 
tion." 


Lois  Wilson,  above, 
presents  her  younger 
sister,  Connie  Lewis, 
right,  to  movie  fans. 
She  has  appeared  in 
several  films,  including 
"No,  Xo,  Nanette." 


Florence  Lake,  below, 
whose  brother  Arthur 
you  know,  is  seen  in 
"The  Rogue  Song"  and 
"Romance." 


Ann  Roth,  above,  is 
introduced  by  Lillian, 
right,  who  played  with 
her  in  "Madame  Sa- 
tan." The  younger 
Roth  could  double  for 
Lillian. 


Vendrell,  above,   sister  of   Armida, 
'I  bit  in  "Kins'  of  Jazz." 


V 


63 


A   Confidential   Guide  to   Current   Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 

"Caught  Short"— Metro-Goldwyn.  Ma- 
rie   Dressier    and    Polly    Moran    as    rival 

keepers.  One  inak. 
haul  on  Wall  Street  and  goes  hay- 
wire. A  son  of  one  loves  the  daughter 
of  the  other.  Enough  said.  Excellent 
support  from  Anita  Page,  Charles  Mor- 
ton.  T.    Roy    Barnes.    Herbert    Prior. 

"Shadow  of  the  Law" — Paramount. 
C  tal  melodrama,  with  William  Pow- 
ell a  persecuted  hero  whose  adventures 
cause  him  to  be  innocently  convicted  of 
murder,  an  escape,  blackmail,  and  a 
gripping  ending.  Marion  Shilling,  Nat- 
alie Moorhead.  Paul  Hurst,  excellent 
support. 

"Social  Lion,  The" — Paramount.  Jack 
Oakie's  debut  as  star,  in  story  of  con- 
ceited youth  given  country-club  mem- 
bership as  joke,  and  he  goes  haywire. 
Situations  funny,  players  make  most  of 
humor.  Mary  Brian,  Richard  Galla- 
gher, Olive  Borden  contribute  gener- 
ously. 

"AH  Quiet  on  the  Western  Front" — 
Universal.  Faithful  screening  of  the 
most  realistic  novel  of  World  War,  with 
no  happy  ending  or  girl  appeal.  Strong- 
est film  document  against  war.  Lewis 
Ayres,  Louis  Wolheim,  "Slim"  Summer- 
ville,  Russell  Gleason,  William  Bake- 
well,  John  Wray  outstanding  in  big  cast. 

"King  of  Jazz,  The"— Universal.  All 
Technicolor.  Spectacular  revue,  with  in- 
timate touch,  starring  Paul  Whiteman, 
with  not  quite  enough  of  him.  John 
Boles,  Jeanette  Loff,  Laura  La  Plante, 
Glenn  Tryon.  Merna  Kennedy.  Many 
more  seen  flittingly. 

"Devil's  Holiday,  The" — Paramount. 
Human,  sympathetic  characterization  by 
y  Carroll,  every  inch  the  star. 
Manicurist  out  West  sells  farm  machin- 
ery to  customers,  and  finally  marries 
son  of  big  wheat  man,  and  complica- 
set  in.  Nice  old  hokum.  Phillips 
Holmes,  Ned  Sparks,  Hobart  Bosv. 
James  Kirk  wood. 

"Paramount  on  Parade" — Paramount. 
Technicolor  sequence.  Best  of  revues, 
with  intimate  entertainment  before  spec- 
tacle, although  latter  is  not  neglected. 
Genial,  glittering  show  includes  many 
Stars,  with  Maurice  Chevalier,  Evelyn 
Brent,  Harry  Green,  Kay  Francis, 
Nancy  Carroll,  Helen  Kane  probably 
heading 

"Benson  Murder  Case,  The" — Para- 
mount. Best  of  the  Philo  Vance  cinemas, 
absorbing,  thrilling,  with  all  intelligence 
detective  stories  will  bear.  William  Pow- 
ell at  his  best,  excellently  supported  by 
head,  Paul  Lukas,  Eugene 
Pallette,  E.  H.  Calvert,  Richard  Tucker. 

"Free  and  Easy" — Metro-Goldwyn. 
I.  comedy  at  its  best,  with  Buster 
K  ton  escorting  a  beauty-contest  win- 
ner. Anita  Page,  to  Hollywood.  Old 
with  new  treatment,  with  glimpses 
of  many  screen  notables  at  the  studios. 

"Song    o*    My    Heart"— Fox.       John 


fcfeCormack    central    figure    in    gentle 

Irish  story,  with  eleven  songs  beauti- 
fully recorded.  Finely  directed,  excel- 
lently acted,  with  new  ingenue,  Maureen 
O'Sullivai.,  and  Tommy  Clifford,  both 
from  Ireland.  John  Garrick,  J.  M.  Ker- 
rigan, Alice  Joyce. 

"Sarah  and  Son" — Paramount.  Ruth 
Chatterton  at  her  best  as  po.>r  German 
girl  who  rises  to  the  top  as  prima  donna, 
in  touching  mother-love  story.  Diffi 
cult  characterization  perfectly  done. 
Philippe  de  Lacy,  Fredric  March,  Gil- 
bert Emery,  Doris  Llovd,  William 
Stack. 

"Men  Without  Women"— Fox.  In- 
tensely human  picture  of  men  trapped 
undersea.  Fine  characterization,  action 
motivated  by  invisible  heroine.  Ken- 
neth MacKenna,  Frank  Albertson,  as 
torpedoman  and  ensign,  are  striking. 
Paul  Page,  Stuart  Erwin,  Warren  Hy- 
mer,    Farrell    MacDonald. 

"Seven  Days'  Leave" — Paramount. 
Hxceptional  film,  lacking  boy-and-girl 
love  element,  with  honors  to  Beryl  Mer- 
cer and  Gary  Cooper.  Charwoman  "in- 
vents" soldier  son,  and,  to  humor  her, 
a  real  soldier  has  her  to  adopt  him. 
Simple,    touching. 

"Vagabond  King,  The" — Paramount. 
All  Technicolor.  Beautifully  filmed,  far 
above  the  "Oh,  yeah?"  and  tootsie 
theme-song  musical  films.  Story  of 
Villon,  the  French  poet,  and  Louis  XI 
— Dennis  King  and  O.  P.  Heggie  re- 
spectively, both  excellent.  Warner 
Oland  and  Lillian  Roth  fine.  Jeanette 
MacDonald  pastel  leading  lady. 

"Rogue  Song,  The" — Metro-Goldwyn. 
Song,  dialogue,  all  Technicolor.  Law- 
rence Tibbett's  debut  on  the  screen  is 
high  mark  of  musical  films.  Magnifi- 
cent voice,  vigorous  personality  make 
up  for  weak  story,  made  weaker  by  de- 
tached horseplay.  The  bandit  kidnaps 
the  princess.  Catherine  Dale  Owen, 
Florence  Lake. 

"Anna  Christie"  —  Metro-Goldwyn. 
Greta  Garbo's  first  talkie  reveals  an  un- 
usually deep  voice.  Heroic  effort  in 
role  demanding  the  best  in  speech. 
Ruthlessly  frank  story  of  streetwalker 
is  unlike  her  former  ones.  Charles 
Bickford,  George  Marion,  Marie  Dress- 
ier. 

"Welcome  Danger"  — Paramount. 
Part  dialogue.  Harold  Lloyd  makes 
you  laugh  all  through,  with  time  out 
only  for  breathing — and  some  speech  by 
Mr.  Lloyd.  His  voice  suitable.  Harold 
runs  down  a  Chinese  villain  in  his  own 
way.  Barbara  Kent  naively  charming. 
Noah  Young  funny  as  policeman. 

"Dynamite"—  Mctr.-Goldwyn.  All 
dialogue.  Cecil  DeMillc's  first  experi- 
ment in  talkies  brilliantly  effective, 
csque  plot,  embellished  with  fine 
acting  and  photography  and  intelligent 
dialogue,  becomes  convincing,  even  if 
about  coal  miner  and  society  woman. 
Kay  Johnson's  debut  perfect.  Charles 
Bickford.  Julia  Faye,  Conrad  Nagel, 
Muriel    McCormac,    Leslie    Fenton. 


FOR    SECOND    CHOICE. 

"Safety     in      Numbers"     ■Paramount 

Buddy     Rogers    lues    with    three    churns 

girls  ,m<l  remains  pure  and  innocent, 
even  though  tin  girls'  conversations 
could  not  he  printed     Even  so  he  .1,"  ^ 

right   by  little   Nell  and  marries   tin    i 

r>t.  Carol  Lombard,  Kathryn  Craw- 
ford,  Josephine    Dunn. 

"So  This  Is  London"  Pox.  Amus- 
ing caricatures  ol  the  Englishman  and 
American,  as  imagined  by  ignorant  on 
opposite  Bhores.  I.ove  affair  brings 
families  together,  enmity  of  fathers  sep- 
arate them  tor  a  while.  Will  Rogers 
irresistible.  Lumsden  ILarc  leaves  noth- 
ing undone.  Maureen  O'Sullivan  sweetly 
real;    Frank    Albertson,   Irene    Rich. 

"Beau  Bandit"— RKO.  Pleasant  en- 
tertainment, with  Rod  La  Rocque  as 
gaudily  clothed  had  man,  with  a  clever 
sense  of  justice.  A  villain  hires  the 
bandit  to  murder  his  rival  in  love. 
George  Duryea,  Doris  Kcnyon,  Mitchell 
Lewis,   Charles   B.   Middleton. 

"Rough  Romance" — Fox.  Superb 
scenery  is  background  of  ordinary  lum- 
ber-camp yarn.  George  O'Brien  proves 
that  he  is  excellent  in  talkies,  as  lum- 
berjack in  love  with  storekeeper's 
daughter.  Some  shady  deals  brew  trou- 
ble. Heroine  is  Helen  Chandler.  An- 
tonio Moreno,  Noel  Francis,  F.ddie 
Borden. 

"Florodora  Girl,  The"—  Metro  Gold- 
wyn.  Much-heralded  film,  is  disappoint- 
ing, if  you  expect  too  much.  Supposed 
to  lie  life  in  gay  '90s,  but  incorrect  as 
to  details.  Marion  Davies  excellent  as 
vapid  show  girl  of  past.  Lawrence  Gray 
all  right  as  leading  man. 

"Lady  of  Scandal,  The"— Metro-Gold- 
wyn. Drawing-room  drama  with  the 
old,  reliable  plot  of  show  girl  and  gen- 
tleman of  birth,  and  hostility  of  gen- 
tleman's family.  English  accent  ramp- 
ant. Ruth  Chatterton  wasting  her  tal- 
ent, Basil  Rathbone,  Ralph  Forbes, 
Nance   O'Neil. 

"Born  Reckless" — Fox.  Gunman  glo- 
rified in  underworld  film,  well  directed 
and  acted.  Catherine  Dale  Owen  as 
society  queen,  F.dmund  Lowe  as  hard- 
boiled  hero,  though  miscast.  Excellent 
roles  by  Paul  Page,  Lee  Tracy,  B<  n 
Bard,  Warren  Hymer. 

"Ladies  of  Leisure" — Columbia.  A 
party  girl  falls  in  love  with  an  artist, 
who,  like  most  screen  artist-,  has  a 
grand  dame  of  a  mother  whose  objec- 
iru'ike  the  plot  go  round.  Barbara 
Stanwyck  good.     Ralph  Graves,  Lowell 

Sherman,  Marie  Prevost,  Nance  O'Xeil. 
Humor  su  i  t   it. 

"True      to      the      Navy" — Paramount. 
Clara   Bow   leads  the    Pacific   fli 
she  can  sell  them  soda  water,  until  Gun- 
ner      McCoy — Fredric       March — comes 
along.     Lively  times   when   the  various 

boy  friends  happen  to  meet.  Clara  still 
the  comely  little  flirt.  Harry  Green  fine 
a^    li<  r   bi 

"Song  of  the  Flame"  First  National. 
Technicolor.       Beautiful    scenes    in    the 

.    pit*    11H 


66 


Douglas  Fairbanks,  Jr.,  Richard  Barthelmess,  and  Neil  Hamil- 
ton share  stellar  honors  in  "The  Dawn  Patrol,"  a  magnificent 
flight  in  the  air. 


HAIL  "The  Dawn  Patrol"  as  an  exceptional  picture! 
(  herlook  it  and  you  will  miss  the  best  of  all  the 
aviation  films.  Rut  you  will  do  no  such  thing,  for 
on  all  sides  you  will  hear  it  praised  and  the  mounting  vol- 
ume will  he  impossible  to  resist.  It  is  true  the  picture  chal- 
lenge's comparison  with  "Journey's  End,"  hecause  some 
nf  the  characters  are  very  similar.  But  it  has  the  advan- 
tage of  far  greater  movement,  variety  of  scenes,  and  the 
presence  of  favorite  players  such  as  Richard  Barthel- 
mess. Neil  Hamilton,  and   Douglas  Fairbanks,  Jr. 

For  this  too  has  a  cast  made  up  entirely  of  men  and 
no  love  Story  is  even  implied,  as  there  was  in  "Journey's 
End,"  and  the  finale  is  likewise  tragic.  Rather  than  a 
formulated  story,  you  will  find  a  cross-section  of  life 
among  the  Royal  Flying  Corps,  with  clash  of  character 
instead  of  a  dovetailed  plot,  all  tending  to  show  the  re- 
action  of   youth  to  the  hideous  actuality   of   war. 

Through  this  pattern  moves  Mr.  Barthelmess,  as  Dick 
Courtney,  in  his  best  performance  in  years.  That  it  is 
not  a  starring  role,  judged  by  the  usual  standards  of 
stars,  i-  all  the  more  to  his  credit.  He  visioned  a  picture 
of  greater  -cope  than  his  own  part  in  it.  Not  any  major 
star  ha-  ever  done  that  or,  so  far  as  I  know,  even  con- 
sidered it.  In  fact  Mr.  Barthelmess  gives  Mr.  Fairbanks 
and    Mr.    Hamilton   greater  opportunities  than   himself. 

Because  of  the-  manner  in  which  young  Fairbanks 
takes  advantage  of  his.  he  has  been  elevated  to  star- 
dom by  Firsl  National.  As  much  could  happen  to 
Mr.    Hamilton    without   occasioning    surprise,    for   he    is 


superb  as  the  youthful  Major  Brand,  who  resorts 
to  whisky  to  deaden  the  anguish  of  sending  his  men 
to  death.  It  is  the  most  mature  and  mental  char- 
acter he  has  ever  played  and  it  establishes  him 
among  the  leaders. 

In  Durance  Vile. 
Whether  "The  Big  House"  has  the  elements  of 
great  popularity,  time  alone  will  tell.  But  whether 
it  has  or  hasn't,  it  is  a  magnificently  savage  picture 
of  life  behind  prison  walls.  Devoid  of  prettiness  or 
romanticizing,  it  may  not  please  the  larger  public, 
although  a  love  story  has  been  pressed  into  service 
to  supply  this  need.  However,  it  is  so  subordinated 
to  the  grimly  realistic  record  of  men's  lives  in 
durance  vile  that  it  may  count  for  nothing  with 
women  who,  we  are  told,  support  the  movies  and 
who  demand  entertainment  in  which  the  woman  is 
dominant  in  love.  Be  that  as  it  may,  "The  Big 
House"  is  a  delight  to  those  of  us  who  see  almost 
every  picture  released.  It  stands  out  in  a  flame  of 
honesty,  of  finely  wrought  drama,  of  humanness. 
It  is  rare. 

Like  many  other  current  successes,  this  is  without 
a  plotted  story.  Instead,  it  is  a  study  of  character 
and  concerns  chiefly  three  prisoners.  First  there  is 
Butch,  the  bully  of  the  prison,  convicted  of  murder: 
Morgan,  his  mental  superior,  a  forger;  and  Kent, 
in  for  ten  years  because  of  running  down  a  man  in 
his  automobile.  Each  of  the  men  is  different  in 
type,  in  antecedents,  in  his  reactions  to  imprison- 
ment. This  difference  is  emphasized  with  a  score 
of  details,  delicate,  sharp,  subtle,  brutal. 

Wallace  Beery  is  sly,  cruel,  the  experienced  criminal, 
but  withal  a  likable  fellow.  His  performance  is  beyond 
superlatives.  It  is  great  acting  and  surpasses  any  of  his 
efforts  in  silence.  Chester  Morris  is  ideally  cast  as 
Morgan,  the  slick  forger,  though  enough  of  a  fighter 
to  hold  his  own  among  the  prisoners  and  sufficiently  in- 
gratiating to  win  the  sister  of  one  of  the  men,  when 
he  escapes  and  goes  to  the  town  where  the  girl  lives. 
Equal  in  every  respect  to  his  fellows  is  Robert  Mont- 
gomery, as  the  freshman  among  the  convicts.  Last  seen 
as  the  flippant  philanderer  in  "The  Divorcee,"  his  new 
role  offers  as  great  a  contrast  as  could  be  imagined. 
The  breaking  down  of  his  morale  until  he  turns  "yellow" 
is  superbly  delineated  and  further  confirms  the  belief 
that,  of  all  newcomers  from  the  stage,  Mr.  Montgomery 
is  the  most  versatile.  Judging  from  the  letters  that  come 
to  Picture  Play,  I  know  there  isn't  a  fan  who  will 
challenge  me. 

The  picture  comes  to  a  climax  with  a  revolt  of  the 
prisoners  in  which  the  dogs  of  war  are  unleashed  to 
subdue  them — army  tractors,  hand  grena'des,  -  stench 
bombs,  machine  guns  are  employed  in  battle  more  thrill- 
ing than  ever  was  fought  in  the  trenches  on  the  screen. 


Pity  the   Millionaires. 
"I  loliday"  is  unusual  at  least.    Y\  nether  it  has  element- 
of   popular  appeal  remains   for  you   to  say.      I   found  it 
interesting,  without  being  wholly  enjoyable.     Interesting, 


67 


^RgVieur 


Now  comes  the  dawn,  bringing  with  it 

outstanding  pictures  of  the  new  season, 

with  hope   of  more. 


it  is  a  well-known  stage  play  brought  to 
the  screen,  with  interesting  persons  playing  the 
Whether  this  interest  will  he  shared 
by  fans  at  large  remains  to  he  seen.  Between  our- 
-.  I  think  it  is  a  critic's  picture  rather  than  a 
fan's  holiday.  Which  is  to  say  that  it  is  finely  acted 
and  out  of  the  ordinary  so  far  as  story  goes,  hut 
not  precis  mpathetic  according  to  our  stand- 

ards. For  example,  are  you  prepared  to  shed  a 
tear  for  a  girl  who  mopes  over  having  too  much 
money  ?  Can  you  believe  her  unhappiness  when 
you  realize  that  she  is  foot-loose  and  can  do  as  she 
•'refers  to  say  how  miserable  she  is. 
how  hampered,  how  cursed  ?  She  talks  a  great 
deal  about  the  burden  of  wealth,  but  so  far 
could  see.  hasn't  a  care  in  the  world.  One  doesn'l 
even  see  her  shouldering  the  burden  of  telling  the 
chef  how  many  guests  there  will  be  for  dinner. 
Yet,  to  hear  her  talk,  she  hears  the  weight  of  the 
world  on  her  fair  shoulders.  Pourquoi.'  A  little 
trip  to  Hollywood,  or  the  South  Sea  Islands,  both 
equally  fabulous,  would  have  made  her  glad  to 
get  back  to  the  old  homestead  on  Park  Avenue. 
However,  one  mustn't  ask  questions  of  even  the 
nicest  heroines,  but  must  let  them  act  to  their 
hearts'  content,  exulting  in  sorrow,  if  they  portray  it 
prettily,  or  abandoning  themselves  to  grief,  if  they  do  it 
gracefully.  You've  no  idea  how  tolerant,  how  compas- 
sionate, the  critic  becomes  at  the  end  of  the  month! 

Well,  at  any  rate,  here  we  have  Linda  Scton,  com- 
plaining of  her  riches,  when  her  sister,  Julia,  brings  home 
a  young  man.  Johnny  C<:.<v.  whom  she  has  met  without 
benefit  of  a  chaperon  and  whom  she  proposes  to  marry. 
Mr.  Case  belongs  to  what  some  people  call  the  lower 
orders,  if  you  get  what  I  mean.  His  intrinsic  worth 
impr  the  father  of  the  sisters,  who  proposes  that 

Johnny  achieve  social  grace  by  entering  his  stock  broker- 
age firm.  But  Johnny  has  other  ideas.  He  doesn't  want 
to  be  tied  down.  He  prefers  to  frolic  while  he's  young 
and  work  afterward.  He  wants  his  holiday.  This  is 
not  the  idea  of  Park  Avenue,  so  there's  a  clash  between 
him  and  Julia,  who  is  entirely  her  father's  daughter,  and 
sympathy  from  Linda,  who  is  a  rebel  in  theory.  After 
a  lot  of  talk — oh,  heaps — Johnny  decides  to  break  with 
Julia,  who  is  willing  to  sacrifice  her  love  to  money,  and 
la,  in  a  flurry  of  inhibitions  broken  down  at  last,  rushes 
m  the  house  to  join  Johnny  on  his  European  holiday. 

This  is  all  right  with  me.     Anything  that  makes  for 
an  interesting  picture,  say  I.    But  it  doesn't  bear  analysis 
any    more    than    the   veriest    Hollywood    hokum.      It's 
earnest,  it's  clever,  it's  epigrammatic,  but  it's  the  fr 
ing  on  the  cake  after  all. 

Ann  Harding,  as  Linda,  is  striking  as  the  society  girl 
who  drops  tough  wisecracks  in  a  dulcet  voice.      Mary 

elegantly   beautiful,   becomes   a    real    ad 
Julia,  and    Robert   Ames,   as   Johnny   Case,   is   entirely 
natural.     To  me  the  outstanding  portrayal  is  that  con- 
tributed by  Monroe  Owsley,  as  the  brother  of  the  girls. 
I  real;  'action  with  life  among  the 

millionaire-    more    acutely   than    from    Miss    Hardil 
musical  winnings.     There  are  also  in  the  cast  Edward 


So  powerful  is  the  acting  of  Chester  Morris  and  Robert  Mont- 
gomery, in  "The   Big   House,"   that   the   spectator  shares   their 
prison  sentence  with  them. 


Everett  Horton,  whose  role  is  frantically  whimsical, 
Hedda  Hopper,  Hallem  Cooler,  and  Creighton  Hale. 
Yes,  "Holiday"  is  a  picture  to  sec  by  all  means,  but  you 
won't  cry  over  the  sorrows  of  the  rich. 

So  Speaks  Mr.  Chaney. 

Lon  Chaney's  first  incursion  into  speech  is  rather  a 
momentous  affair  because,  next  to  Charlie  Chaplin,  he 
has  held  out  longest  against  breaking  the  spell.  But  he 
doesn't  break  it  at  all  in  "The  Unholy  Three,"  though 
he  speaks  constantly.  Mr.  Chaney's  voice  is  hard  boiled 
and  sympathetic,  too.  It  isn't  the  case  of  the  man  with 
a  thousand  faces  talking  like  a  tailor's  dummy  come  to 
life.     Mr.  Chaney  sounds  as  Mr.  Chaney  should. 

If  you  remember  your  movies  as   far  back  as    1025 
you  will  recall  "The  Unholy  Three"  in  silence — a  stir- 
ring, macabre  work,  as  thrilling  a  glimpse  of  the  under- 
world as  the  screen  has  ever  afforded.     There  was  Echo, 
ventriloquist  in  a  side  show.  Hercules,  the  strong  man, 
and  The  Midget,  all  partners  in  crime,  with  Rosic  as 
their  accomplice.     Led  by  Echo  they  escaped  from  the  cir- 
cus and,  again  with  Echo  as  the  ringleader,  a  private  cor- 
poration is  organized.    You  found  Echo  masquerading  as 
an  old  woman,  proprietor  of  a  bird  shop,  using  his  ventri- 
loquial  talent  to  make  parrots  irresistible  to  purchasers, 
his  object  being  to  deliver  birds  to  homes  which  he  and 
his  confederates  would  later  rob.     All  went  swimmn 
until  Rosic,  whom  he  loved,  became  enamored  of  a  yot 
man  employed  by  Echo  to  assist  in  the  shop.    You  '-.ill 
perhaps  remember  the  big  robbery  and  how  Echo  jeal- 
ously fastened  suspicion  on  the  young  man,  only  to  break 
down  at  the  trial,  save  him  from  conviction,  and 
his  love  for  Rosie — all  true  to  Mr.  Chaney's  traditio 
relinquishing  the  woman  he  loves  to  a  more  worthy  man. 

All  this  occurs  in  the  audible  version,  but  with  a  dif- 
ference.     In  silence  the  grim  horror  of  the  proci  • 


ti.s 


The   Screen  in  ReVievtf 


"Holiday 


"Lawful   Larceny." 


"Let  Us   Be   Gay. 


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'The    Unholy    Three." 


held  the  spectator  spellbound.  But  with  the  addition  of  dialogue 
the  story  acquires  a  light  touch.     Moments  that  yielded  terror  in 

the  silent  version  are  made  amusing,  even  funny,  in  the  talking  one. 
True.  Air.  Chancy  is  magnificent,  and  Harry  Maries,  who  played 
the  midget  in  the  silent  as  well  as  the  audihle  revival,  is  amazingly 
perverse.  Ivan  Linow,  who  replaces  Victor  McLagien,  is  likewise 
vividly  eloquent,  and  the  ape  is  properly  menacing  and  vengeful.- 
But  !<>r  some  reason  the  picture  hecomes  lighter  and  less  Poesque 
than  the  first  presentation.  It  remains,  however,  one  of  the  out- 
standing documents  of  the  screen  and  melodrama  in  its  purest  and 
most  inspired  form.  Lila  Lee  and  Elliott  Nugent  are  excellent  as 
the  young  couple. 

Better  Than  Ever. 

Gary  Cooper  is  not  yet  so  familiar  as  a  star  that  his  pictures  can 
lie  dismissed  as  a  repetition  of  his  personality.  There  is  indeed  no 
player  among  the  newer  group  who  gains  more  in  sureness  and 
subtlety,  without  giving  evidence  of  conscious  technique.  So  it  is 
that  one  looks  hack  upon  Mr.  Cooper  in  "The  Shopworn  Angel." 
when  his  voice  was  first  heard,  and  compares  him  in  "A  Alan  From 
Wyoming,"  to  realize  how  fully  he  has  matured  as  an  artist.  His 
effortless  acting,  his  complete  naturalness,  will  always  disguise  his 
skill  to  the  extent  of  causing  him  to  he  rated  as  an  actor  who  plays 
himself  rather  than  one  who  is  adept  at  disguises.  But  to  those 
he  reaches  most  clearly,  his  voice  conveys  more  of  the  character  he 
is  playing  than  the  obvious  efforts  of  his  competitors  to  achieve  what 
is  called  versatility. 

It  is  scarcely  necessary  to  point  out  that  the  foregoing  is  by  way 
of  saying  that  Mr.  Cooper,  is  at  his  best  in  "A  Man  From  Wy- 
oming," which  offers  him  a  part  almost  equal  in  appeal  to  Kenneth 
in  "Seven  Days'  Leave,"  and  exceeds  even  that  extraordinarily  con- 
genial role  in  the  skill  he  has  since  acquired. 

It  is  a  war  picture  and  not  a  Western,  nor  is  it  the  greatest  picture 
of  war  ever  produced.  But  it  is  eloquent,  rather  gripping,  and  is 
splendidly  acted  not  only  by  Mr.  Cooper;  but  June  Collyer,  for  whom 
ir  is  a  triumph;  Regis  Toomey,  E.  H.  Calvert,  and  other  stand-bys. 
Acting  and  direction  invest  it  with  values  that  would  he  reduced  to 
nothingness  in  hands  less  capable.  Because,  when  all  is  said,  here 
is  merely  the  story  of  a  captain  of  engineers  who  falls  in  love  with 
a  war  nurse,  marries  her,  is  reported  killed  in  action  and  reappears 
when  his  supposed  widow  is  trying  to  forget  her  sorrow  by  turning 
the  family  villa  into  a  house  of  revelry.  The  husband  misunder- 
stands, the  wife  resents  his  suspicions,  they  part  and  are  finally 
reconciled.  The  first  half  is  more  credible  than  the  sequences  that 
begin  in  the  villa.  Then  one  feels  that  matters  are  needlessly  drawn 
out.  But  even  so  the  entertainment  is  ahove  the  average  and  leaves 
nothing  to  be  desired,  so  far  as  Mr.  Cooper's  part  in  it  is  concerned. 

For  Ladies   Especially. 

Ring  up  another  hit  for  Norma  Shearer,  in  "Let  Us  Be  Gay." 
It's  popularity  is  sure-fire,  especially  with  women,  because  it  is  a 
new  version  of  that  reliable  stand-by — the  dowdy  wife  who  turns 
the  tahles  on  her  husband  and  becomes  a  triumphant  bird  of  para- 
dise. This  happens  in  life  so  rarely,  and  is  desired  so  often,  that 
its  realization  in  fiction  is  a  soothing  delight  to  ladies  who  have 
lost  out  with  men. 

Here  we  have  a  plain  wile,  who  divorces  her  husband  when  she 
catches  him  philandering,  and  after  an  interval  turns  up  at  a  swell 
Long  Island  house  party  where  he  is  a  guest.  From  then  on  every 
minute  brings  a  new  victory  for  the  erstwhile  ugly  duckling,  now  a 
laughing,  worldly  beauty  whose  presence  devastates  every  male  and 
humbles  her  ex-husband  to  the  dust,  until  in  queenly  mercy  she 
restores  him  to  favor.  It's  quite  obvious  that  the  poor  fellow's 
future  will  he  that  of  a  sovereign's  consort,  the  ideal  of  the  Ameri- 
can wife. 

Xo.  the  story  of  "Let  Us  Be  Gay."  which  ran  for  more  than  a 
year  on  the  stage  in  Xew  York,  is  not  a  happy  accident.  It  is  moti- 
vated by  a  profound  knowledge  of  psychology  and  is  glossed  over 
with  clever  characterizations,  bright  dialogue  and  pleasant  uncer- 
tainty of  the  outcome.  It  could  hardly  fail  even  in  hands  less  adroit 
than  those  of  Miss  Shearer  and  her  associates,  all  of  whom  rise  to 
the  occasion  of  supporting  a  gifted  star  in  her  best  picture. 


The  Screen  in   ReVieW 


69 


Chief  among  these  is  Marie  Dressier,  as  an  eighty-year-old  society 
woman,  who  invites  the  fascinating  divorcee  to  her  honk-  to 
away  the  man  with  whom  her  granddaughter  is  infatuated.  Tlii ^  is 
an  unusual  r»">lc  for  Mi>s  Dressier,  Inn  it  imposes  no  handicap  on 
the  veteran  actress,  because  she  all  but  runs  away  with  the  picture- 
Gilbert  Emery,  Hedda  Hopper.  Raymond  Hackett,  Tyrrell  Davis, 
ami  Sally  Filers  enliven  the  house  party  with  first-rate  acting. 

Salute  Mr.  Albertson! 

Frank  n,  who  attracted  attention  on  his  appearance  two 

in  "Prep  and  Pep."  comes  through  with  a  performance 
in  "Wild  Company"  that  leaves  no  doubt  of  his  importance.  The 
opinion  is  shared  by  every  one  who  sees  him  and  it  will  he  yours, 
t  For  he  has  the  ability  to  wisecrack  with  the  best  of  them  and 

become  moving,  poignant,  and  very  real.  In  this  unusual  blend  ot 
i  s     -   the  additional   virtue  of   likahleness.      His  youthful   exu- 

berance is  unchecked.  His  impudence  is  irrepressible,  his  self- 
confidence  unshakable,  yet  withal  one  has  no  desire  to  throttle  him. 
It  is  when  he  becomes  serious,  however,  that  Mr.  Albertson's  talent 
is  impressive.  Simple,  artless,  his  sincerity  is  unquestioned,  his 
naturalness  disarming,  his  emotional  depth  amazing.  Easily  he  is 
one  oi  the  elect  among  that  small  company  of  juveniles  who  can 
act  to  the  point  of  commanding  respect. 

He  has  the  advantage  of  appearing  in  an  excellent  picture,  in 
which  his  part  is  not  the  only  interesting  one.  Though  it  is  a 
unent  against  the  father  who  gives  his  son  liberty  without 
r  -  risibility  and  money  instead  of  guidance,  it  is  well  calculated 
for  dramatic  values.  Its  "lesson"  is  obvious,  hut  it  remains  in- 
ting  and  even  gripping.  The  son  goes  his  own  way  until  he 
falls  into  had  company,  is  arrested  for  complicity  in  a  holdup  and 
murder,  and  is  sentenced  to  five  years  in  the  penitentiary. 

H.  B.  Warner  plays  the  father  sympathetically  and  Claire  Mc- 
Dowell is  the  mother.  Kenneth  Thomson  is  believable  as  the 
racketeer  villain.  Sharon  Lynn  is  effective  as  his  accomplice,  and 
Joyce  Compton.  Richard  Keene.  George  Fawcett.  and  Mildred  van 
Dorn  are  others  who  lend  capahle  aid  to  a  picture  that  you  can't 
fail  to  enjoy. 

A   Wife's   Stratagem. 
I  all  know  how  fully  Rehe  Daniels  realized  herself  as  a  singing 
actress  in  "Rio  Rita."     She  doe-  even  more  in  "Lawful  Larceny." 
for  she  proves  herself  to  he  a  capital  dramatic  actress  in  a   role 
worthy  of  the  best   talent.      As  the  young  wife   who.   finding  her 
husband  in  the  toils  of  an  adventuress,  enters  her  employ  as  a  secre- 
tary and  steals  both  her  lover  and  her  money.  Miss  Daniels  gives  a 
performance  that  is  nothing  short  of  brilliant.     Scene  after  scene  is 
beautifullv  played,  beginning  with  the  emotional  one  of  her  hus- 
band's confession  and  ending  when  the  two  women  confront  each 
other.     Miss  Daniels'   sure:n<s.  her  complete  naturalness  and   her 
capture  of  sympathy  all  bespeak  the  skill  of  a  veteran  player 
has  at  last  come  into  her  own. 
The  picture   is   interesting  on   several   counts.      Lowell    Sherman 
-  debut  as  a  director  and  plays  a  leading  role  in  a  melo- 
drama that  was  one  of  his  succes-e-;  on  the  stage.     It  is  an  enter- 
taining specimen  of  theatric  values  shrewdly  calculated  to  maintain 
nse  and  trickiness.  with  an  appeal  to  women — especially  mar- 
ried ones  bent  or  §    even  with  the  "other   woman."      Surely 
there  never  was  one  of  the  latter  more  completely  worsted   by  a 
noble  wife. 

Olive  Tell,  as  the  adventuress  who  is  victimized  by  Miss  Daniels, 
nspicuously   clever  and    Mr.    Sherman,   both    as   director   and 
actor,   wrings  the   utmost    from   i  ene.      Fxcellent    also   are 

Kenneth  Thomson.  Purnell  Pratt,  and  Helene  Millard. 

The  Trapeze   Again. 
Circus  days  of  fifty  years  ago  are  supposed  to  he  what  "Swing 
High"  is  about,  hut  the  incidents   might   just   a-  well   compri 
circus  story  of  to-day.  for  it  is  like  many  other  tales  of  the  sawdusl 
ring  and  has.  in   fact,  no  least  novelty  of  plot  or  narration.      One 
realizes  dimly  that  M  trapeze  performer,  daughter  of  the 

proprietor,  is  in  love  with   Gerry,  a  barker  with  a  banjo,  and   that 
Continued  on  pafi' 


"On    the    Level. 


"Swing   High." 


"She's   My  Weakness." 


70 


SRIFJF1THS     ISN'T     LIFE     WONDEP.F'.'L 
"•C-AgCL     DEMPSTER     S'   NEIL     HAMILTON 


**«•»«•« 


This  is  the  historic  sign  that  dimmed  all  Neil   Hamilton's   struggles  and  spelled  triumph  for  him. 

I  Stop  to  Look  Back 

In  this  installment  of  a  leading  man's  autobiography,  the  boy  who  once  tended  pigs  sees  his  name  in 

electrics  on  the  Great  White  Way. 


B>>  Neil   Hamilton 


PART  V. 

THE    White    Rose"    opened    at    the    Lyric 
Theater  in    New   York  and,   needless   to 
say,   it  was  one  of  the  big  moments  of 
my  life.     Mother  and  father  came  down  from 
New  Haven  to  see  me   for  the  first  time  in  a 
real  part.     It  was  the  first  time  they 
had  ever  been  able  to  look  at  a  pro- 
gram secure  in  the  knowledge  that  all 
in  a  flash,  I  would  not  have  come  and 
gone. 

After  the  performance  I  introduced 
them  to  Mr.  Griffith,  who  was  very 
kind  to  them.  There  has  never  been 
the  same  thrill  since  at  seeing  myself 
on  the  screen,  even  though  it  was  a 
relatively  small  part. 

Then  followed  "The  Fourth  Com- 
mandment," directed  by  Christy  Ca- 
banne.  Incidentally,  Charles  Emmett 
Mack  was  borrowed  for  the  same  pic- 
ture. We  had  by  this  time  become 
very  good  friends. 

For  six  weeks  we  rehearsed  "Amer- 
ica." but  I  was  not  sure  of  playing  the 
role.     There  were  vague  rumors  float- 
ing about   that   Mr.  Griffith  was  after  this 
actor  and  that  one  to  play  the  part,  but  still 
I  was  kept  rehearsing.     Finally  there  came 
the  big  thrill  when  I  was  told  that  I  was  to 
play   Nathan   Hohlcn.     Then   followed  two 
hectic  weeks  of  costuming.    During  this  time 
1  met  Robert  W.  Chambers,  author  of  the 
story.     He   proved  to  be  a  very  charming 
man  and  a  patient  critic. 

During  the  early  part  of  the  picture,  you 
may  remember,  there  was  a  love  scene  be- 
tween Miss  Dempster  and  myself  which  was 
played  at  a  second-story  window,  supposedly 
at  the  Boston  Tavern.  I  rode  in  on  a  big 
plow  horse,  so  bis,r  that 

I    could    hardly    Strad-       Success,     self-confi- 
....  T  J  .  ,       dence — what    a    dit- 

dle    him.       I     stopped       ference    they    make 
beneath     her    window  in    Neil! 


and  stood  on  the  saddle.  During  the  tak- 
ing of  one  of  the  scenes  I  acquired  a  fear 
of  horses  that  has  persisted  to  this  day.  I 
fell  off  backwards,  but  had  the  presence 
of  mind  to  remain  prone  on  my  stomach. 
The  horse  shot  out  one  of  his  hind  legs, 
missing  me  only  by  inches.  If  I  had  raised 
my  head,  I  should  have  received  the  full 
force  of  the  blow  on  the  back  of  my  skull, 
and  it  is  a  safe  bet  that  I  should  not  be 
writing  this  now. 

We  took  many  of  the  scenes  at  Mamaro- 
neck,  and  also  for  weeks  we  camped  up- 
State.  We  also  went  to  Boston,  Rich- 
mond, and  Salem,  and  everything  was  com- 
pleted, except  the  Valley  Forge  sequence, 
for  which  snow  was  necessary.  Mr.  Grif- 
fith wanted  the  picture  to  open  on  Wash- 
ington's Birthday,  and  very  little  time  re- 
mained for  its  completion.  Each  morn- 
ing we  assembled  at  the  studio,  eagerly 
awaiting  the  fall  of  the  first  snow.  Days 
went  by,  and  then  we  woke  one  morning 
to  find  that  during  the  night  a  heavy  snow 
had  fallen.  The  studio  was  a  beehive  of 
activity.  I  traipsed  around  barefoot  all 
day  long,  and  much  to  the  surprise  of  the 
crew  who  were  heavily  bundled  in  over- 
coats, mufflers,  and  overshoes,  I  didn't 
mind  it  in  the  least. 

The  picture  opened  on  February  22, 
1924.  The  reviewers  were  unanimous  in 
their  approval  of  the  picture  and  the  work 
of  all  the  members  of  the  cast ;  and  for  the 
first  time  I  felt  that  I  had  made  some 
slight   impression. 

After  all  the  retakes  were  made,  I  was 
given  permission  to  have  my  hair  cut.     It 
had  been  growing  for  months,  and  I  looked 
like  nothing  more  than  a  Scottish  sheep- 
dog.     It   had   become   so   long  that   it 
was  really  embarrassing,  and  I  hated 
to  be  seen  in  public. 

By  this  time  I  had  become  the  proud 


I   Stop   to   Look   Back 


of  a  Ford  sedan,  mj  first  car,  and  1  doubt 
ii"  any  automobile  1  ever  own  will  i;iu'  me  as  much 
n  did.     During  tin  years, 

befoi  \  roved  over  30,000  miles, 

most  pleasant  ones  indeed.     Boy,  that  oar  i 
climb  l>am  doors!    I  slept  in  it  the  first  night.    We 
used  to  wash  it  twice  a  day  in  order  to  keep  it 
shiny. 

Immediately  following  "America,"  I  was  lent  to 

mount  t<>  do  a  picture  with  Richard  Dix,  "Man 

and  \\\>man."  in  which  for  the  first  time  1  played 

a  heavy.  s  also  the  first  time  1  was  actively 

in  a   studio  where    four  companies   were 

work  nee,  and  I  felt  very  insignificant.     It 

the  mean-  of  meeting  a  very  splendid 

couple.  William  DeMille  and  Clara  Beranger.    As 

I  write  this  he  has  just  passed  the  window  of  my 

dressing  room.     He  i>  once  more  on  the  Paramount 

lot  in  charge  of  dialogue  eff< 

When    "Man    and    Woman"    ended,    it    was    my 

fortune  to  meet  a  man  who  some  three  years 

-  t«>  direct  me  in  one  of  the  finest  scenes  it 

will  ever  he  mv  lot  to  play.     1   refer  to  Herbert 

Brenon,   then   about   to   start   "The    Side    Show   of 

"  with  Ernest  Torrence  and  Anna  Q.  Nil 
and  who  chose  me  for  the  brother.     On  completion 
of  this  he  started  "The  Street  of  Forgotten  Men." 
with  Percy  Marmont,  in  which  Mary  Brian  and  I 
played  the  romantic  leads. 

And  then  hack  to  Mr.  C.riffith — and 
the  thrill  of  thrills.      He  was  about 
her  picture,  though  what 
it  was  to  he  he  did  not  know  himself. 
-      lav  after  day  we  rehearsed  three 
stories,  and   finally,  on  the  stage  of 
the  Forty-fourth  Street 
Theater,    some    six    months 
after  the  opening  of  "Amer- 
ica.""  he  fore   the  assembled 
Griffith  force-.  Miss  Demp- 
ster. Marcia  Harris.  Lrville 
Alderson,  a  few  extras  and 
I  put  on  the  three  st< 
for  approval.     One  of  the 
three  was  "Isn't  Life  V. 
derful?"     It  was  the  short- 
and  the  simplest. 
One    look    at    Mr.    Grif- 
fith's   face   was   enough   to 

vince  the  onlookers  that  that  was 

the  one  he  wanted :  while  strange  to 

say,  it  was  thought  the  least  of  by 

the  assembled   staff.     The  thrill  of 

thrills  I  mentioned  came  when  we 

learned  that  the  locale  was  Germany. 

and  that  we  were  to  go  there   for 

th.  Up  to  this  time   I 

'.  never  been  on  an  ocean  liner. 

■  ct    of    crossing    the 

•k  toll  of  my  sleep  for 

•-.rth  of  July  we  sail 
on  the  '  Washington,  and  it 

ing  that  this  event 
ran1-  -t  in  the  thrills 

of  my 

When  we  pulled  into  the  harl 
of  Plymouth  and  could 
the  -.'land    T  Neil 

aln  t    with   delight     '^  *» 

Later   we   arm  re-  ,  au 

men.  Germany,  and  the  next  Geste." 


It  was  in  the  course  of  "Desert  Gold"  that  William  Powell 
drawled  something  to  Neil   Hamilton   that   electrified  him. 

morning  we  landed.  We  stayed  six  weeks,  dur- 
ing which  time  we  worked  continuously  in  many 
-  within  a  radius  of  one  hundred  miles  oi 
Berlin.  Many  times  we  left  before  daybreak, 
and  had  the  most  gorgeous  breakfasts  at  some 
wayside  inn  where  they  dispensed  the  world's 
most  glorious  beer.  Of  course,  we  saw  every- 
thing of  interest  in  Berlin  and  environs.  One 
of  our  big  thrills  was  going  through  the  ex- 
kaiser's  palace. 

During  our  first  few  days  in  Berlin  we 
spent  hours  at  the  costumers.  in  order  to  get 
the  correct  clothes.  Dressed  in  mine.  T  in- 
structed the  chauffeur  to  stop  a  few  blocks  from  my 
hotel  in  order  that  I  might  walk  there  to  see  if  the 
uniform  was  one  that  would  not  attract  attention.  The 
old  hoots  had  seen  service  in  the  trenches;  a  rough 
pair  of  trousers  and  a  jacket  were  woven  out  of  paper, 
relics  of  the  war;  and  a  cap  which  was  produced  after 
a  long  session  at  the  German  haberdashers  to  get  not 
only  the  correct  kind  of  headgear,  but  also  a  cheap 
one.  completed  this  wardrobe. 

The  assistant  director  had  evidently  informed   Mr. 

Griffith  of  my  intention,  for  as  I  passed  the  hotel  I 

heard  a  coin  fall  on  the  sidewalk.     It  was  one  mark. 

I  looked  up  and  saw  Mr.  Griffith,  Miss  Dempster,  and 

other  members  of  the  company  leaning  out   of  the 

windows.     I  doffed  my  hat  in  thanks.     This  action 

was  noticed  by  only  a   few  of   the   passers-by,  and   T 

continued    my    stroll    up    the     famous    thoroughfare, 

until   I   reached   the   Brandenberg  Tor.  the    famous 

archway    over   the    Linden,    with    t'  bronze 

[horses   on   top,   which   has   fij  i  dramatically   in 

Kin  history. 

I   turned   around   there  to  wall  to  the  hotel 

'and  to  my  surprise  found  that    Mr.  Griffith  had  been 


72 


I  Stop  to  Look  Back 


He  Followed 


owing  me.     We  exchanged  no  words 

me  hack  to  the-  hotel. 

The  da)  for  our  departure  for  home  finally  arrived. 
As  Mr.  Griffith  had  not  been  to  England  in  quite  some 
time  and  was  desirous  of  paying  a  visit  to  London,  it 
was  the  privilege  of  the  company  to  go  along  with  him, 
so  that  we  had  a  week  in  London  before  actually  starting 
for  home.  While  there  I  had  the  pleasure  of  renewing 
the  acquaintance  of  Ivor  Novello,  with  whom  1  had 
worked  in  "'Hie  White-  Rose,"  a  most  charming  man 
with  an  inexhaustible  supply  of  humor. 

We  arrived  in  New  York  after  an  uneventful  voyage 
on  the  Sythia,  and  started  the  interiors,  as  during  our 
stay  abroad  we  had  made  only  exteriors.  The  picture 
was  finally  finished,  previewed  at  the  Town  Hall  in  New 
York,  later  released  at  the  RialtO,  and  was  acclaimed  by- 
all  the  critics  as  one  of  the  master's  major  achievements. 
I  mention  this,  not  because  of  my  reflected  glory,  hut 
because  I  sincerely  consider  it  one  of  the  very  few  great 
motion  pictures. 

I  have  neglected  to  mention 
until  now  Richard  Barthel- 
He  sat  next  to  me  at 
the  preview  of  "Isn't  Life 
Wonderful?"  This  was  the 
second  time  I  had  ever  con- 
versed with  him,  the  first  be- 
ing the  opening  night  of 
"America,"  when  I  found  my- 
self shaking  hands  with  him. 
I  thought  he  was  most  kind 
and  sincere  in  his  congratula- 
tions— to  me  a  wonderful 
courtesy,  for  all  during  the 
making  of  "America"  t  had 
felt  he  should  have  played  Na- 
than 1 1  olden.  He  was  just  as 
generous  at  the  preview  of 
"Isn't  Life  Wonderful?"  and 
T  am  indeed  proud  to  number 
him  among  my  best  friends. 
What  is  more,  if  I  may  have 
a  favorite  actor,  he  is  mine  to 
this  day. 

Shortly  afterward  I  was 
again  borrowed  by  Paramount 
and  again  by  Mr.  Brenon  for 
"The  Little  French  Girl,"  with 
Mary  Rrian,  Alice  Joyce,  and 
Esther  Ralston.  Again  a  lovely 
location — lovely  for  the  rest 
of  the  company  only  after 
they  arrived,  for  every  one  on  the  boat  except  me  was 
dreadfully  sick  on  our  way  to  Bermuda,  our  location. 
We  were  there  three  weeks,  and  the  beauty  and  quiet  of 
the  place  will  live  long  in  my  memory.  It  was  the  favor- 
ite retreat  of  Mark  Twain,  I  have  since  learned. 

On  our  return  to  New  York  we  found  that  Mr.  Grif- 
fith had  decided  to  give  up  being  an  independent  pro- 
ducer, as  I  imagine  he  was  tired  of  the  many  details 
isary  to  the  successful  management  of  an  organiza- 
tion, and  had  resolved  to  devote  his  entire  time  to  direc- 
tion alone.  Fate  continued  to  be  kind  to  me,  for  when 
Mr.  Griffith  joined  Paramount,  I  also  went  with  that 
organization,  the  realization  of  my  youthful  dream. 

Upon  completion  of  "The  Little  French  Girl,"  I  was 
sent  West  for  the  firsl  starring  vehicle  of  Betty  Bronson, 
"The  Golden  Princess,"  directed  by  Clarence  Badger. 

With  Mrs.  Hamilton  and  one  of  our  friends,  Xorvin 
Gable,  1  started  for  California.  The  Ford  sedan  by  this 
time  had  outlived  its  usefulness,  and  it  had  been  traded 
in   for  a  more  sumptuous  car  which  bore  us  nobly  and 


Neil  Hamilton  made  his  first  impression  on  the  fans 
in  D.  W.  Griffith's  "America." 


comfortably  across  the  continent.  On  the  way  I  made 
personal  appearances  in  many  of  the  principal  cities,  and 
needless  to  say,  had  a  glorious  time.  We  arrived  in 
California  in  June,  1925. 

For  two  weeks  after  our  arrival  it  poured  rain,  which 
it  was  not  supposed  to  do  at  that  time.  Our  reaction  was 
that  if  this  is  California,  they  ought  to  take  it  out  in  the 
backyard  and  set  fire  to  it.  But  we  changed  our  opinion. 
The  barrenness  of  the  California  hills,  coupled  with 
the  aloofness  of  the  picture  colony,  made  us  homesick 
for  New   York. 

Finally  I  was  cast  in  "Desert  Gold,"  directed  by 
George  Seitz,  with  Bob  Frazer,  Shirley  Mason,  and  Bill 
Powell.  Much  to  my  horror,  I  was  again  forced  to 
ride  a  horse  through  many  sequences. 

While  we  were  on  location  in  the  desert,  into  my  tent 
one  night  came  Bill  Powell.  I  have  thought  of  this  visit 
many  times  afterward.  It  was  a  turning  point.  He  said, 
helping   himself   to   my    cigarettes,    "Hello,    Neil."      To 

winch  I  replied,  "Hello,  Bill." 
We  talked  on  of  one  thing 
and  another,  and  then  he 
asked.  "Heard  from  Herbert 
Brenon?"  "No,"  was  my 
answer.  "Well,  you  will." 
was  his  reply. 

Why?  It  developed  that 
Bill  had  recently  been  in  the 
East,  and  had  run  into  Mr. 
Brenon  at  the  Lambs  Club. 
Mr.  Brenon  was  preparing 
the  script  of  "Beau  Geste," 
and  had  decided  that  Bill  was 
the  only  one  to  play  Bolclini, 
which  he  afterward  did  so 
well,  and  that  I  was  to  have 
the  role  of  Digby.  I  hadn't 
read  "Beau  Geste,"  so  I 
asked  Bill,  "Have  vou  read 
the  book?"  "Yes.  Pretty 
good.  A  mystery  yarn."  He 
then  started  to  tell  me  the 
story.  He  got  as  far  as 
where  Digby  goes  over  the 
wall,  but  he  wouldn't  tell  who 
stole  the  famous  diamond,  or 
who  burned  the  fort,  or  even 
how  the  dead  soldiers  were 
propped  against  the  wall.  I 
didn't  sleep  a  wink  that  night, 
for  he  had  made  me  mad  by 
refusing  to  tell  these  details. 
Little  did  I  think  then  how  great  the  picture  was  to  be, 
and  how  fortunate  I  would  be  to  be  in  it. 

Well,  production  of  "Beau  Geste"  was  about  to  begin. 
By  this  time  nearly  a  year  had  gone  by,  and  the  appear- 
ance of  the  Hollywood  hills  was  no  longer  an  eyesore- 
hut  a  thing  of  real  beauty,  particularly  at  evening  when 
the  sun  sets  so  gloriouslv  behind  them,  making  a  gor- 
geous jagged  line  from  Hollywood  to  the  ocean,  shading 
from  deep  purple  to  palest  lavender.  I  had  made  many 
friends,  had  succeeded  in  battering  down  the  wall  of 
aloofness,  and  by  now  had  been  won  over,  still,  however, 
slightly  desirous  of  returning  to  New  York. 

Finally  "Beau  Geste"  was  started,  and  I  never  shall 
forget  walking  out  on  the  set  to  see,  standing  there  be- 
fore me  in  the  flesh,  Ronald  Colman !  I  was  so  im- 
pressed by  Ronnie — Mr.  Colman  at  the  time — that  never 
had  T  been  so  stupid  in  playing  scenes.  As  a  matter  of 
fact.  T  nearly  lost  the  part.  He  developed  into  a  friendly 
cuss,  along  with  Ralph  Forbes. 

Continued  on  page  108 


73 


Synchronization 

That    is    what    these    sisters    strive     for    and 

achieve    in    sinking    and    dancing,    and    that's 

why  musical   films   are  their   pie. 


The   i  -  .   right,  are  favoriu 

halls  brought  back  to  their  native  land  t.>  appear  in 
the  revue  "The  March  of  Time." 


ling,  below — no,  we  don't  know  which 
a hich — are  the  only  Chinese  sister  team  in  movies. 


I       !otte  and  Arlene  Aber,  right,  are  twins,  so  then  1  for  their  sister  act.    \ 

Rrbo  have  a  corner  on  the  feather  fans  in  Hollywood,  prom- 
ise to  redeem  themselves  in  I  the  Legion." 


* 


Minnekaka  Diminuendo 

The    only    Indian    flapper    in    the   movies    is    one    of    the    tiniest    of    actresses — Dorothy    Janis — but    she 

makes  up  for  her  lack  of  inches  in  pep  and  determination. 

Bj  Madeline  Glass 


FOl'R  of  the  five  great  races  of  the  earth  are  plenti- 
fully represented  in  American  films.  The  fifth 
race,  contrarily  enough,  comprises  the  original 
Americans,  yet  it  is  very  poorly  represented  in  an  indus- 
try that  attracts  people  of  every  race  and  clime.  Cau- 
casians lead  in  numbers ;  the  Ethiopians  are  fairly  nu- 
merous, as  witness  Stepin  Fetchit  and  Farina ;  and  there 
are  a  few  Mongolians  and  Malays.  Yet  of  pure  Indian 
blood  there  is  none. 

A  number  of  famous  stars  including  Will  Rogers, 
Tom  Mix,  and  Monte  Blue  boast  a  small  strain  of  In- 
dian blood,  yet  their  heritage  is  not  sufficiently  strong  to 
influence  their  appearance  or  characteristics. 

Dorothy  Janis  is  at  present  the  chief  Indian  representa- 
tive on  the  screen,  although  she  is  only  a  quarter  blood. 
However,  that  one  quarter  is. Cherokee,  one  of  the  most 
important  of  all  the  tribes,  so  it  is  a  matter  of  moment. 

On  finding  that  Dorothy  was_  being  as- 
signed increasingly  important  roles,  I  de- 
cided to  hunt  her  up  and  get  her  Indian  re- 
actions to  fame  and  fortune.  After  meet- 
ing explosive  foreigners  from  every  quar- 
ter of  the  globe  it  would  be,  I  thought,  very 
restful  to  meet  a  quiet,  domesticated  little 
Cherokee. 

The  little  Cherokee  turned  out  to  be 
domesticated,  as  per  expectations,  but  I 
don't  recommend  her  as  a  nerve  tonic.  I 
do,  however,  recommend  her  as  a  joyous, 
enthusiastic  little  pal  for  any  one  who  can 
keep  up  with  her.  For  all  her  Indian  pig- 
mentation, Dorothy  has  the  soul  of  a  white 
girl,  a  sprightly,  laughing,  bubbling  white 
girl.  Her  favorite  recreations  are  dancing 
and  driving  and  partying.  Pocahontas 
rescued  John  Smith  from  danger,  and 
diminutive  Dorothy  rescues  men  from 
boredom. 

After  waiting  half  an  hour  for  her,  I 
gi  it  up  to  go  home.  Then  out  from  behind 
a  pillar  popped  Dorothy  looking  as  cute 
as  a  spotted  pup  and  not  much  larger. 
This  1930  version  of  Minnehaha  is  just 
four  feet,  eleven  inches  in  her  French 
heels,  and  weighs  ninety-four  pounds  in 
clothes  and  make-up.  When  I  walk  along 
street  with  her  I  feel  as  if  I  should 
have  her  on  a  leash  to  keep  from  losing 
her. 

"Several  times."  she  told  me,  "I  have 
lost  leading  roles  in  pictures  because  of  my 
size.  When  I  stand  beside  a  tall  star  I 
come  (inly  to  his  waist.  I  wish  I  were  like 
Greta  Garbo,  so  tall  and  willowy.  Then  I 
could  wear  clothes." 

That,  of  course,  i-  a  rhetorical  remark 
and  shouldn't  be  taken  literally. 

Besides  clothes  Dorothy  also  likes  to 
wear  jewelry.  Heavy,  barbaric  pieces. 
Earrings  that  fall  to  her  tiny  shoulders, 
and  bracelets  like  napkin  rings.     This  ten- 


dency is,  so  far  a.s  I  have  been  able  to  detect,  her  only 
Indian  characteristic. 

"I  got  into  pictures  by  a  fluke,"  she  tells  you  readily, 
tlie  Texas  intonation  of  her  speech  increasing  with  her 
enthusiastic  recital.  "I  went  with  my  cousin  to  the  Fox 
studio  to  have  her  costumes  fitted.  A  woman  in  the 
fitting  room  said  they  were  looking  for  a  girl  to  play 
the  lead  in  'Fleet  Wing.'  One  hundred  and  fifty  girls 
had  been  considered  for  the  part.  This  woman  asked  if  I 
could  do  a  Nautch  dance.  I  didn't  know  exactly  what 
she  meant,  but  I  said  I  had  studied  dancing  a  great 
deal.  So  I  was  taken  to  the  casting  director  and  got 
the  part. 

"I'm  telling  you,  when  I  heard  I  was  chosen  to  play  a 
lead  I  was  nearly  thrilled  to  pieces.    But  as  you  probably 
know,  the  picture  turned  out  to  be  a  horse  opera  in  dis- 
guise.    We  went  out  on  the  burning,  passionate  desert 
sands  to  make   it  and   I   nearly   froze  to 
death.      I   wore   enough   metal   jewelry  to 
anchor  a  yacht,  and  the  metal  being  cold 
all  the  time  helped  to  keep  me  cold. 

"After  that  I  made  a  picture  with  Fred 
Thompson.  He  was  an  awfully  nice  man. 
"  'Lummox'  was  the  first  talking  picture 
I  made.  In  that  the  very  first  scene  we  did 
was  the  one  where  I,  as  the  maid,  am  dry- 
ing the  dishes.  I'm  telling  you,  I  was  so 
scared  that  when  I  put  the  dishes  on  the 
table  they  rattled  as  if  I  had  the  palsy.  The 
scene  had  to  be  remade  because  of  it. 

"You  know,  I  don't  like  make-up  men. 
They  all  have  a  crazy  habit  of  wanting  to 
experiment  with  my  face.  On  one  of  the 
first  pictures  I  made  the  make-up  man  was 
drunk  all  the  time,  and  he  used  to  fix  up 
my  face  like  a  sunset.  He  put  the  men's 
mustaches  on  upside  down,  too.  Now,  I 
make  the  experts  stay  away  and  fix  my 
own  face.  I  can  do  it  better  than  they  can. 
"When  we  went  to  the  South  Seas  to 
make  'The  Pagan,'  I  put  olive  oil  on  my 
face  every  day  and  sat  in  the  sun  on  the 
upper  deck.  When  we  arrived  I  had  such 
a  tan  that  I  didn't  have  to  wear  dark 
make-up." 

Who  says  the  little  Cherokee  isn't  seri- 
ous about  her  art? 

I  commented  on  the  diamond  which  she 
wears  on  the  "engagement"  finger. 

"My  father  gave  it  to  me  when  I  was  a 
child,"  she  explained,  "because  I  didn't  cry 
when  the  doctor  took  the  nail  off  that  fin- 
ger. My  father  is  dead  and  I  still  wear  it 
in  memory  of  him." 

Taking  a  powder  puff  from  her  bag.  she 

dabbed  at  her  nose  and  poked  at  the  dusky 

loops  of  hair  which 


Dorothy  is  only  four  feet 
eleven  in  French  heels, 
and  weighs  ninety-four 
pounds  in  clothes  and 
make-up. 


curved  gracefully 
from  under  her  felt 
hat.  Her  eyelashes, 
Continued  on  page  106 


75 


.;    K.  t.    lit/r..-.   U.:.,4 


Though  Dorothy  Janis  U  part  Cherokee  Indian,  the   >s   very  much 

a  Hollywood  flapper,  her  high  spirit*  and  characteristic  chatter 

being    neatly    captured    by    Madeline    (jla-s    in    the    -lory    opp 
which  lurther  UeM.nU.-s  vjine  ol    Dorothy*!  adventures  alter  dark. 


7b 


Jack  Oakie,  left,  as  Lit- 
tleton Looney,  the  Syra- 
cuse golf  caddy,  in  a  seri- 
ous moment  realizes  what 
a  wonderful  girl  is  Gin- 
ger Rogers,  as  Eileen 
Saunders. 


Mr.  Oakie  and  Miss 
Rogers,  below,  illustrate 
a  sentimental  moment  of 
the  kind  that  is  expected 
to  occur  in  any  film  of 
Mr.  Oakie's. 


Mr.  Oakie,  lower  left, 
boards  the  steamer  for  a 
European  trip  and  finds 
himself  pursued  as  a  ce- 
lebrity, not  knowing  that 
the  reason  for  the  fuss 
made  over  him  comes 
from  a  batch  of  tele- 
grams sent  by  his  friends 
and  signed  with  famous 
names. 


< 


Mr.  Easy  Mark 


*£^  Jack  Oakie  lives  up  to  the  title  of  his  starring  picture,  "The   Sap 

>^.  From  Syracuse,"  with  songs,  wisecracks,  and   the  right  girl   in  his 
^--'  arms  at  the  end. 

Ski*. 


77 


Lila  Lee,  rii;ht.  as  Illlcn, 
the  Italian  princess 
guiscd  as  a  seamstress, 
learns  lo  know  Ben  Lyon, 
;:i/,  her  old  sweet- 
heart, as  >he  never  did 
before. 


Lucien  Littlefukl,  below, 
a>  ( 'nele  Joe  Boyd,  and 
Ionise  Fazenda,  as  Aunt 
Kate,  into  whose  home 
comes  F.llen  and  creates 
i     scandal    becaose    of 

Uncle  Joe's  attentions  to 
her. 


Mi-s  Lee,  lower  right, 
satisfies  the  longing  of 
the  townspeople  by  ap- 
pearing in  a  costume  <uch 
as  they  think  a  princess 
should  wear. 


In  Royal  Regalia 


"Queen  of  Main  Street"  amusingly  pictures  the  farcical 

complications  when    the    American   widow  of  a  foreign 

nobleman    returns    to    her  home  town. 


t.v-  v^ 


""  *s. 


78 


Upfr 


cm 


Ruth  Chatterton  makes  the  ascent  in 
the  role  of  a  girl  with  no  reputation 
man  only  to  find  herself  worse  off 
solution  of  her  problem  promises  to 

finest 


*«* 


Clive  Brook,  above,  as  Neil  Dunlap,  a  lawyer,  introduces 

Huntly   Gordon,  as   Grant   Crosby,  his    friend,   to   Ruth 

Chatterton,  as  Pansy. 


S 


Paul  Lukas,  above,  as  Gus- 
tav  Saxon,  a  guest  and  client 
of  Pansy's  hushand,  takes 
advantage  of  her  unsavory 
reputation  to  thrust  his  at- 
tentions upon.  her. 

Miss  Chatterton,  left,  and 
Mr.  Brook  realize  the  folly 
of  their  marriage,  but  see 
no  way  out  of  it  because  he 
will  not  stoop  to  the  dis- 
honor of  casting  her  off, 
and  she  loves  him  too  much 
to    offer    a   divorce. 


7 'J 


th 


"Anybody's  Woman,"  for  she  plays 
at  all,  who  marries  a  distinguished 
than  if  she  were  no  wife.  Her 
yield  one  of  the  brilliant  favorite's 
performances. 


Miss  Chatterton,  above,  as  the  chorus  girl  who  marries 

in   haste,   is   startled  to   learn   that    Mr.    Brook   has   no 

recollection  of   the  ceremony   the   morning  after. 


m 


Ruth  Chatterton,  above, 
though  only  a  chorus  girl  in 
a  cheap  show,  causes  Give 
k  to  buckle  down  to 
work    after    their    marriage. 


Miss  Chatterton,  n'Kht,  finds 
that  Mr.  Brook,  as  her  hus- 
band, is  neglecting  his  busi- 
for  drink  and  succeeds 
in  obtaining  his  promise  to 
reform  and  justify  his  posi- 
tion as  a  leading  lawyer. 


80 


Margaret  Brcen, 
right,  Buddy's  new 
leading  lady  from 
the  Stage,  is  prop- 
erly impressed  with 
the  hero's  boyish 
shyness. 


*Jt 


Buddy  at  Annapolis 

In  that  locale  does  the  popular  Mr.  Rogers  begin  his 

musical  adventures  in  "Heads  Up,"  filmed  from  a  big 

Broadway  success. 


if 


& 


V.Z 


\W        v 


<■''!•■ 


Mr.   Rogers,  above,  as  Jack  Mason,  dis- 
covers  that  the  yacht  on  which  he  is  a 
guest  carries  contraband  liquor,  so  he  is 
all  for  law  and  order. 


Mr.  Rogers,  right,  faces  the. problem  of 

maintaining  his  rights  as  the  star  when 

such  comics  as   Helen   Kane  and   Victor 

Moore  arc  aboard. 


81 


Si 


in 


Its  conse- 
quences are 
shown  in  "The 
Eyes  of  the 
World." 


Harold  B.  Wripht's 
most  famous  story 
naturally  finds  its 
way  to  the  talkinp 
screen,  where  it  is 
expected  to  repeat 
the  success  of  the 
silent   version. 

The  well-known 
characters  are 
played  by  Nance 
ON'eil,  as  Myra, 
at  top  of  pape, 
with  Una  Mcrkcl, 
as  Sybil. 

Fern  Andra,  left, 
as  Gertrude  Taine, 
is  seen  with  John 
Holland,  as  Aaron 
King. 

Mcrkcl,  ri^'ht, 
with    Huph    Hunt- 
ley, as  James  Kut- 
ledge. 


82 


Kara,  the  Firefly 


She  is  Myrna  Loy,  whose  spell  is  cast 
upon  The  Imp,  in  "When  We  Were 
Twenty-one,"  and  it  takes  the  combined 
efforts  of  his  three  guardians  to  break 
the  evil  enchantment. 


Loretta  Young,  as  Phyllis,  at  top  of  page,  with 
David  Manners,  as  The  Imp,  play  at  cross-pur- 
poses. Though  they  are  engaged,  he  has  become 
infatuated  with  Kara  and  Phyllis  loves  Richard 
Carnve,  one  of  his  guardians.  They  emerge  from 
this  tangle  only  when  Richard  Carewe  sacrifices 
his  reputation  to  save  the  young  man  from  the 
loss  of  Phyllis'  respect,  and  succeeds  so  well  that 
he  is    free  to  claim   the  young   girl   as   his   own. 

Myrna  Loy,  left,  as  Kara,  with  Yola  d'Avril,  as 

her  maid,  hears  a  knock  on  her  door  that  means 

trouble. 


83 


The  BouleVard 
^^    Directory 

The   Hollywood    Book   Store,  second   in  a  se- 
ries  of   glimpses   of   places   where   stars   shop 
and  reveal   their  personal  tastes. 

By   Margaret   Reid 

IN  the  old  days,  the  palmy  days  of  art   for  art's 
sake  and  such,  there  was  nothing  a  star  liked 
better  than  to  curl  up  in   front  of  the  camera 
with  a  good  book.     No  cinema  c.  nplete 

without  a  tidy  shelf  of   the  dear  classics   in   swell 
bindings.     The  library  was  second  only  to  the  Rus- 
sian wolfhound  in  popularity.     For  press  pur, 
the  two  were  essential  to  sue. 

In  these  modem  times,  you  don't  see  any  more 

pictures  with   their    S  nhauer.      You 

may  think,  consequently,  that  they  have  given  up 

read:-  use  you  haven't   cast   an 

eye   i  Book 

Far    from   giving   up    literature,    the    him 

it  up.     Dinner  parties  arc  now 

:ied    as    much    by    literary    discussion    as    by 

studi 

The  Hollywood  Bo.  '  has  been  flourishing 

•  years.     On  the  Boulevard  at  High- 
land   Avenue,    direct"  the    famous    old 
ood,   a   shallow   cloister   separates   its 
door  from  the  sidewalk.   No  architectural    fancies 
>h    it — it   is   just   a    shop.      But    it   knows 
more  about  the  inner  star  than  any  other  shop  in 
town.      Taste    in    literature    is    a    pretty    infallible 
indication   of   character,   and    Hollywood   has    Few 
at  are  not  known  to  the  analytical  walls 
of  this  store. 

Even  lu's  best  friends  would  probably  be  startled 
to  know  that  a  certain  juvenile  of  considerable  box- 
office  appeal  entered  one  day  and  asked  nervously 
for  a  copy  of  "What  Every  Young  Man  Should 
w."  Then  there  is  the  character  actress  who 
wears  smart  clothes  and  a  sophisticated  demeanor 
in  drawing-room  drama,  and  who  buys  every"  James 
Oliver  Curwood  opus  as  soon  as  it  appears.  And 
dear  indeed  to  the  hearts  of  the  Hollywood   Book 

the  famous  ingenue  who  fluttered  in  to  ask  for 
Havclock  Ellis'  latest  murder  mystery. 

But  tin  -  xceptions  to  the  general  rule  of  local 

intelligence.     This  store  caters  principally  to  a  moving- 
picture  clientele,  yet  their  stock  is  as  varied  as  the  best 
in  Xew  York,  and  their  standard  of  selection  and 
:t  the  finest  in  I. 

!t  is  an  omniverous  collector,  with  a  con- 
'-rimination.      He    i-    not    attracted    : 
rns.      Dickens   i~   his   favorite   and   any  old   edition 
is    immediately   added    to    the    Hersholt 
library. 

John  Barn-more  has  a  leaning  toward  morbidity  and 
eroticism,  but  abominates  anything  unless  it  is  masterful 
of  con-truction  and  ii  Every  few  days  he 

in.      Hat  pulled  flown  over  his 

lis  his  name  out  to  the  clerk  through  the 
corner  of  bis  mouth  and  makes  a  break  for  the  floor. 
Barrymore  never  brov. 

Franklv    a  v.  the    limitati 


I'holo  by  Brown 

Dorothy   Sebastian's   taste   in  books   centers    on   plays,    which 
she  reads  as  soon  as  they  are  published. 


knowledge,  Joan  Crawford  seldom  shops  independently. 

ually  she  asks  the  clerk's  advice.  She  wants  to  know 
what  is  good  ami  why  it  is  considered  so.  And  then 
buys  it.  She  recently  disclosed  a  little-known  passion 
of  her  husband.  Douglas,  Jr..  is  doing  some  illustrating, 
perhaps  for  his  own  writing,  and  Joan  bought  the  lii 

tnples  of  Harry  Clarke's  and  AJastair's  drawii 
him.     They  are  two  of   Doug's   favorites  and    foan   sur- 
rounds him  with  an  atmosphere  in  keeping  with  his  own 
venture. 

Louis  Wolheim  is  the  delight  of  tlie  shop.  What  he 
doesn't  know  about  literature  jusl  isn't  to  be  known.  \ 
brilliant  wit,  his  frequent  visits  are  keenly  enjoyed  by 
the  clerks,  even  aside  from  the  prodigious  purchase,  he 
mal. 

Lois  Moran  is  not  to  he  taken  in  by  the  "faerie  intel- 
lects."    She  likes  vitality  and  a  sure  power  between  the 
coven  of  the  books  she  buys.    And  the  covers  th< 
mean   nothing   to   Ik  ial    editions, 

I  16 


84 


Photo  by    Chidnoff 

Lupe  Velez,  the  Mexican  tamale,  is  served  up  with  chili  sauce  on  all 

occasions. 

TRUTH  is  stranger  than  fiction,  and  publicity  is  stranger  than 
either  of  them.  It  is  the  sauce  with  which  stellar  personalities 
are  garnished  to  intrigue  the  world's  fickle  palate.  Served  hot  or 
cold,  spiced  or  bland,  according  to  the  nature  of  the  foundation  dish,  it 
must,  in  some  cases,  enhance  a  rare,  original  flavor,  and  in  others  act  as 
a  disguise.  But  always  it  must  be  expertly  concocted  and  meticulously 
timed,  or  the  result  is  apt  to  be  soggy  failure. 

The  modern  tendency  among  publicity  chefs  is  to  preserve,  so  far  as 
possible,  the  true  character  of  the  raw  materials  with  which  they  work. 
Hamburger  by  any  other  name  is  still  hamburger,  and  the  day  is  happily 
past  when  it  came  out  of  the  publicity  kitchen  smothered  in  mushroom 
sauce,  or  some  other  arty  gravy.  Such  a  procedure  only  spoiled  the 
humble  comestible  for  its  rightful  consumers,  and  never  deceived  epi- 
curean fans. 

No  longer  is  an  altogether  fictitious  background  built  up  around  a  star. 
It  has  been  found  that  the  public  reacts  unfavorably  to  false  propaganda. 
In   other  words,  deception   doesn't   pay,   unless   it  can  be  carried   on 
indefinitely.     The  saying  that  murder  will   out  didn't  originate  with 
S.  S.  Van  Dine. 

Take  the  case  of  Theda  Bara,  to  go  back  to  the  dark  ages  when 
the  public  was  not  only  more  gullible  than  at  present,  but  innocently 
pleased  to  have  its  collective  leg  pulled. 

Theda  originated  the  veils-of-Isis  school  of  press-agenting.  She 
was  the  first  great  mystery  of  the  movies.  One  tale  credited  her  with 
having  the  blood  of  the  1'haroahs  in  her  veins.  She  was  an  Egyptian 
princess,  born  in  the  shadow  of  the  Sphinx,  and  smuggled  out  of  a 
harem  by  an  enamored  Englishman. 

Another  story  proclaimed  her  a  dancing  girl  escaped  from  a  heathen 


Sauce  for 

Press-agent  stories  used  to  be  served 
until  the  choice  concoctions  began  to 
publicity    kitchens    are    grinding    out 

By  Elsi 

temple  in  some  far-off  jungle.  A  still  more 
fantastic  version  was  that  she  herself  knew 
nothing  of  her  parentage  or  antecedents. 
She  just  miraculously  "happened,"  a  little 
accident  wandering  amnesially  through 
strange  bypaths,  until  the  movies  fortu- 
itously discovered  and  adopted  her,  and 
sent  her  soaring  to  fame  on  vampire  wings. 
This  sort  of  thing  worked  to  perfection 
for  quite  a  long  time.  The  Bara  name  was 
one  of  the  first  to  gain  wide  notice  outside 
the  then  meager  and  amateurish  fan  publi- 
cations. It  flashed  through  the  daily  press 
like  a  flame.  The  sirenic  Theda's  com- 
ings and  goings  were  deemed  worthy  of 
considerable  newspaper  space,  and  the 
photo  by  Fryer  producers  who  had 

^^^^  her   under   contract 

J^^^l^^  grinned    fat,    satis- 

Jtt|        b  fied  grins. 

^W*-  ■!■  Reporters  trailed 

■  m  her.     Ushered  into 

^^      r'JP^  "the  presence,"  they 

^-— ^j  W  found  themselves  in 

/  '  y  an    atmosphere    so 

/  &  !  C\s  dense  with  mystery 

?  -*■'  ^  that  it  well-nigh 
Midt  cno'<ed  them.  Dim 
jj^WW  lights,  dark,  somber 
*  '4  draperies,  heavy  in- 
ftf  cense  transformed 
even  the  most  gar- 
ish hotel  suite  into 
an  abracadabra 
shrine.  Enthroned 
therein,  surrounded 
by  hushed,  worship- 
ful attendants,  the 
veiled  sorceress  of 
screendom  received 
favored  representa- 
tives of  the  fourth 
estate.  Weird  and 
cabalistic  jewels 
adorned  her  frail 
fingers;  guarded, 
cryptic  utterances 
fell  from  her  scar- 
let lips. 

But  in  spite  of  the 
carefully  planned 
effect,  some  of  the 
reporters  seemed  to 
find  it  rather  more 
amusing    than    im- 

The  chill  perfection 
of  Corinne  Griffith's 
work  is  the  straw- 
berry mousse  of  the 
film  menu. 


B5 


tke  Publi 


1C 


piping  hot,  smothered  with  hot  air, 
turn  soggy.  Now  the  boys  in  the 
plainer  and  saner  fare  for  hungry  fans. 


Q 


ue 


sive.      With   the  marked  irreverence 

for  pomp  ami  circumstance  which  char- 
acterizes their  breed,  the  ladies  and  gen- 
tlemen of  the  press  went  away  and  wrote 
funny  stories  about  Thcda.  They  snooped 
around  and  found  that  she  wasn't  a  princess 
after  all,  nor  even  a  mysterious  foundling, 
but  just  one  of  the  progeny  born  to  poor 
but  respectable  parents  in  Ohio.  Oh: 
all  plact  - ' 

S  collapsed  the  Bara  myth,  and  with  it 
the  traditional  screen  vampire.  Maybe  the 
public  was  already  a  bit  wearied  with  the 
elaborate  trappings  of  synthetic  sin;  per- 
haps for  voluptuous  menaces  was 


ii  i 


Photo  by  i 

Greta  Garbo  had  many  of  the  ingredients  for  a  sizzling  mystery,  but 
the  public's  appetite  had  become  a  bit  jaded. 

satiated.  Anyway,  ThedVs  goose  was  cooked,  professionally.  She 
became  almost  overnight  the  symbol  of  a  rather  ridiculous  phase 
of  the  movies — a  phase  they  have  been  trying  to  live  down  ever 
since.  They  made  her  the  goat  of  that  side-show  ballyhoo  era,  a 
living  sacrifice  to  the  grinning  god  of  ridicule. 

Once  or  twice  she  attempted  to  come  back,  to  prove  her 
worth  as  an  actress.  But  the  effort  was  fruitless.  She 
married  a  famous  director,  became  the  chatelaine  of  one  of. 
Hollywood's  most  charming  homes,  and  was  seemingly 
content  witli  retirement.  Then  came  talking  pictures.  With 
her  indisputable  talent,  excellent  voice,  and  line  presence, 
she  may  yet  have  a  chance  to  blot  out  her  vampirical 
Many  more  seemingly  improbable  come-backs 
have  been  recorded,  and  Thcda  still  has  hosts  of  loyal 
fans  who  would  he  glad  to  have  her  return. 

At  the  present  time,  Jetta  Goudal  is  the 

only  example  of  tin-  Bara  school  still  holding 

her  own  in   Hollywood,  the  reason  probably 

being   that   Jetta   really   is   a    mystery — with 

modern  improvements.     She  is  "the  cat  that 

alone."     Unlike  her  pr<  .  she 

has  from  tl  '  her 

own  campai 

ius  of  n  sor(  to 
and     maintain     such     an 

The  m.i  of  ;ill  tantaliz- 

ing mysteries  was  spun  around  a 
link-      fl      from      Ohio — Thcda 
Bara. 


80 


Sauce  for  trie  Public 


The  sole  survivor  of  the  great  enigmas,  Jetta   Goudal  warms  her 
story  over  frequently  and  serves  it  with  a  tricky  sartorial  garnish. 


aura  of  exoticism  as  constantly  surrounds  la  Goudal. 
•Her  remarkable  deviations  from  current  fashions  keep 
the  film  town  gasping,  as  when  recently  she  appeared 
at  a  social  function  wearing  a  bracelet  of  "fresh  gardenias, 
which  extended  from  the  wrist  to  above  the  elbow  of  her 
left  arm.  When  very  short  skirts  were  in  vogue,  she 
wore  hers  trailing  on  the  ground.  When  sleek,  smooth, 
smafl  heads  were  the  mode,  she  built  up  her  long,  black 
hair  into  truly  stupendous  edifices.  Tier  home  reflects 
this  same  indomitable  determination  to  he  different  at 
any  cost,  and  she  never  permits  an  effect  to  become  stale. 

She  says  little  and  looks  much.  Stories  are  rife  con- 
cerning her  origin,  hut  she  neither  affirms  nor  denies 
them.  There  was  the  one,  for  instance,  that  she  is  a 
daughter  of  the  famous  Dutch-Javanese  spy,  Matahari. 
who  died  with  sewed  lips  before  a  French  tiring  squad, 
during  the  World  War.  In  many  of  her  poses.  Jetta 
strongly  suggests  a  Javanese  dancing  girl,  and,  according 
to  certain  disgruntled  directors,  her  stubborn  self-will  is 
typically  Dutch.  But,  however  this  may  he,  the  woman 
is  sufficiently  unusual  in  everything  she  does  to  piqu( 
curiosity  and  encourage  speculation. 

Her  publicity  was  carefully  tailored.     Tt  was  assumed 


that  such  a  baffling  personality  would  naturally 
he  temperamental  in  the  accepted  Hollywood 
sense,  so  stories  were  given  out  describing  her 
tantrums  on  the  set,  her  unwillingness  to  work, 
unless  conditions  were  exactly  to  her  liking,  her 
quarrels  with  scenario  writers  and  costumers. 
.All  were  myths,  according  to  Jetta. 

During  the  now-famous  suit  which  grew  out 
of  a  broken  contract — broken  by  Cecil  DeMille, 
because,  he  asserted,  she  was  impossible  to 
handle — Miss  Goudal's  testimony  threw  a  lurid 
light  on  the  publicity  racket.  She  admitted 
that  she  frequently  disagreed  with  the  director, 
but  always  politely.  No  evidence  was  pro- 
duced to  show  that  she  had  ever  indulged  in 
those  A'olatile  symptoms  fabricated  for  public 
consumption  by  the  publicity  department. 

"They  told  that  lie  so  many  times  that  they 
finally  came  to  believe  it  themselves,"  is  the 
way  she  dismisses  the  subject. 

But  not  so  lightly  can  the  after-effects  be 
dismissed.  She  won  the  suit  and  was  awarded 
back  pay  amounting  to  about  $30,000.  A 
doubtful  victory,  as  it  has  turned  out.  For  a 
long  time  producers  did  not  avail  themselves 
of  her  free-lance  services.  It  was  whispered 
that  she  was  being  deliberately  frozen  out  of 
pictures  because  of  her  display  of  lese  majesty 
toward  DeMille.  Finally  she  made  a  talking 
short,  "China  Lady,"  for  Warner,  and  more 
recentlv  she  played  in  the  French  version  of 
"The  Unholy  Night"  for  Metro-Goldwyn.  But 
her  future  is  still  in  doubt. 

Greta  Garbo  came  perilously  near  being 
launched  as  a  mystery  during  her  first  year  in 
this  country.  She  has  so  many  qualities  utterly 
at  variance  with  what  Hollywood  has  come  to 
regard  as  typical  of  a  star,  that  she  bewildered 
those  whose  duty  it  was  to  publicize  her.  Was 
she  really  a  recluse,  as  cold  and  unapproach- 
able as  an  iceberg?  If  so,  was  it  safe  to  let 
the  public  know,  or  was  she  merely  a  dumb 
Swede?  This  was  the  question  that  baffled 
Metro-Goldwyn  in  its  first  efforts  to  stereotype 
the  Nordic  enigma. 

Greta  seems  to  have  settled  it  for  them  by 
being  completely  herself  on  all  occasions. 
When  she  feels  in  the  mood,  she  goes  out  with 
the  "hands"  from  her  set  and  eats  Irish  stew 
at  a  counter.  When  she  craves  to  be  alone — and  who 
of  us  does  not,  at  times? — she  hies  herself  to  the  beach 
and  spends  long,  solitary  hours  gazing  at  the  ocean.  She 
abhors  ostentation  and  display,  but  she  is  quite  nor- 
mally feminine  in  her  enjoyment  of  beautiful  clothes 
when  the  occasion,  on  the  set  or  off,  calls  for  them. 
To  her  must  go  credit  for  having  accomplished  a  feat 
rare  in  the  annals  of  stardom — in  being  accepted  as 
a  "regular"  person,  without  becoming  in  the  least  stand- 
ardized. 

Corinne  Griffith's  garnishment  has  always  been 
whipped  cream.  And  how  perfectly  it  suits  her!  One 
would  as  soon  expect  a  gross  display  of  histrionics  from 
Corinne  as  from  a  strawberry  mousse.  The  chill  per- 
fection of  her  art  is  the  dessert  of  picture  fare.  She  is 
a.t  her  best  in  some  such  magnificent  confection  as  "The 
Divine  Lady,"  and  even  such  a  role  as  the  street  girl  in 
"Outcast"  she  invests  with  a  quality  that  quite  relieves 
it  of  sordid  realism.  The  imagination  of  press  agent 
and  interviewer  is  put  to  no  strain  in  creating  the  desired 
background  for  her.  She  is  the  personification  of  lux- 
urious elegance. 

( Continued  on  page  117 


S7 


Please,  Mister! 

Stop  being  mean  to  these  girls. 


Lenorc  Ulric  and  Charles  Bickford, 
above,  had  their  troubles  in  "South  Sea 
Rose,"  and  their  better   moments,   too. 


•  \ 


I 


tl 


Janet  Gaynor  and  Charles  Farrell,  above,  in  "Lucky  Star,"  could 
not  possibly  be  fighting — the  idea ! 


Mae  Clarke,  center,  is 
causing  Robert  Ames  to 
break  that  resolution  in 
"Nix  on  D  a  m 
through  her  wheedling 
looks. 


f>- 


The    late    Fuller    Mi 
Jr..    left,   and    Helen    1 
gan    had    one    continuous 
in   "Applause,"   with 
only    a:;  onal    half 

truce. 

M.. 

rigi  ■  hard 

Dix,    in 

her,    hut    !'.>■    hai 

•  !    t'i    write,    a  n  '1 
worl 


> 


% 


88 


Pola  Negri  subtly  changed  her 
appearance  by  the  white  wig 
she   wore    in   "Three    Sinners." 

OUR  screen  favorites  have 
brought  to  us  in  cellu- 
loid the  great  sirens  of 
history — Lucrezia'  Borgia,  Ca- 
mille,  Helen  of  Troy,  Lady 
Hamilton,  Circe,  and  Madame 
Pompadour.  These  and  other 
fascinating  figures  of  the  past, 
who  tinted  history  and  legend 
with  their  charm  and  intrigue, 
have  found  brilliant  prototypes 
on  the  screen  in  which  to  dis- 
play their  individual  caprices. 
I  mention  these  ladies  because 
they,  perhaps  more  than  any 
others,  demand  perfect  char- 
acterization to  bring  out  their 
eccentricities,  and  a  diligent 
regard  for  settings,  costumes, 
mannerisms,  and  gestures — an 
entire  departure  from  self  and 
from  the  present. 

Every  actress  who  lives  up  to  the  name  is 
given,  from  time  to  time,  roles  which  demand 
the  utmost  in  talent,  which  stand  out  from  her 
other  work,  and  which  linger  in  memory  as  asso- 
ciated with  her  name.  Into  these  roles  the  actress 
must  mold  herself  or,  as  it  more  often  happens, 
blend  her  own  personality  with  prcdomincnt 
traits  of  the  character  she  is  representing. 

Just   how  does  an  actress  catch  the  mood   of 

lur  part?     By  studying  the  character,  by  adapt- 

i    to  the  atmosphere  of   the   story,   by 

Stures,  by  dress,  and  by  makc-np.  Of  course, 
in  the  end,  the  character  is  the  personal  inter- 
pretation of  the  actress,  or  director. 


Carmel    Myers   was   perfect 
shallow     widow     in     "The 
bride." 


Say  It  With 

The     stars     live     up     to     this     slogan     by     proving     that 
they   wear   as   how   they   act.      This   article    recalls 

By  Willard 

If  Jetta  Goudal  were  enacting  the  part,  it  would  be  her  very 
own  portrayal,  you  may  be  sure.  Interpretations  vary  in  authen- 
ticity, it  is  true,  but  usually  where  this  quality  is  lacking,  a 
charming  pictorial  quality  more  than  makes  up  the  loss. 

It  is  interesting  to  note  how  some  of  the  players  groom  them- 
selves for  their  usual  roles  which,  through  the  very  effective- 
ness they  reach,  will  be  remembered  for  months  and  perhaps 
years  to  come. 

Clothes !  What  a  great  deal  they  had  to  do  with  Gloria 
Swanson's  role  in  "Sadie  Thompson"!  Her  one  costume,  in 
tragically  poor  taste,  was  perhaps  more  striking  than  any  of  the 
elaborate  creations  Gloria  has  worn.  How  Florence  Vidor 
dressed  for  her  part  in  '"The  Magnificent  Flirt,"  a  role  gayly 
modern,  with  ensembles  smartly  modernistic !  How  different, 
but  just  as  effective,  were  Renee  Adoree's  charming  peasant 
clothes  in  "The  Cossacks,"  and  Marion  Davies'  quaint  Dutch 
costumes  in  "The  Red  Mill." 

How  well  we  remember  the  gowns  Greta  Garbo  wore  in 
"Love,"  and  Dolores  del  Rio,  in  "Ramona."  When  we  think 
of  Mac  Murray,  in  "The  Merry  Widow,"  it  is  always  as  Sonia, 

in  the  clinging  gown, 
dancing  the  "Mem- 
Widow  Waltz."  That 
one  costume  suggests  the 
very  essence  of  Viennese 
life  which  the  picture 
presented.  That  costume 
and  Roy  d'Arcy's  Crow 
Prince,  which  we  shall 
never  forget !  It  is  his 
dental  masterpiece ! 

Perhaps  Pola  Negri 
never  looked  more  beau- 
tiful than  she  did  in 
"Three  Sinners."  In  the 
scenes  in  which  she  por- 
trayed a  woman  of  the 
world,  she  wore  a  white 
wig  which,  aside  from 
being  chic  and  comple- 
mentary, framed  her  face 
with  a  smart  sophistica- 
tion which  was  not  ordi- 
narily hers.  Her  deep, 
hrooding  eyes,  which  are 
naturally  large  and  some- 
what prominent,  were 
softened  into  a  lovely, 
heavy-lidded  enchant- 
ment. 

When  Estelle  Taylor 
essaved  the  role  of  Ma- 
dame de  Sylva.  the  vo- 
luptuous Eurasian  siren 
in  "Where  East  Is  East," 
she  successfullv  charac- 
terized a  difficult  and 
unsympathetic  woman, 
who,  like  Nubi,  in  "The 
Squall,"  dangerously  ap- 


as   the 
Demi- 


Corinne  Griffith 
seldom  has 
looked  lovelier 
than  in  "The  Di- 
vine Lady." 


.J 


S'.) 


Cloth 


es    ^^ 


characterizing    their    roles    depends    as    much    on    what 
some  striking  successes  in  sartorial  characterization. 


Ckamberli 


eriin 

proached  the  conic  Estelle  stopped  into  the  role  of  the  slant- 
eyed  charmer  with  the  assurance  oi  a  true  daughter  of  Cathay. 
She  expressed  everything  through  her  hands  and  her  eyes. 
Those  half-shut,  wicked  eyes — can  you  ever  forget  the  strange 
spell  Estelle  cast  with  them?  Or  her  hands,  covered  with 
s,  curling  with  a  slow,  gliding  sinuousness  around  whatever 
they  touched?  Add  to  this  a  hair  cut  purposely  barbaric,  lips 
carmined  to  sensuous  fullness,  costumes  vividly  of  the  East — 
odd!  gems,  long 

'.  eled  combs,  and 
the  varicolored  sa- 
fs  oi  [ndo-China. 
Miss  Taylor  achieved 
in  her  Oriental  woman 
a  picture  so  strikingly 
cruel  that  one  c 
not  help  but  admire 
her. 

Carmel  Myers  has  a 
delightful  way  of  em- 
phasizing the  philan- 
dering ladies  she  does 
so  well.  She  wears 
amusing   costumes. 


Only  Jetta  Goudal  has  the  courage  to  shun  other 
people's  fashions  and  create  styles  all  her  own. 


Estelle     Taylor 

achieved  perfect  cos- 

turning  in   "Where 

East   Is   East." 


Lily  Damita,  in 
"The  Bridge  of 
San  Luis  Rey," 
luxuriated  in  fan- 
tastic costumes 
to  match  the 
character. 


You  would  not  see,  even  in  the  most  bohemian 
of  Parisian  drawing-rooms,  gowns  such  as  Car- 
mel wears — gowns  falling  off  one  shoulder  and 
topped  with  huge  hows  and  tipsy  flow 

Neither  would  you  ever  meet  a  lady  quite  so 
captivatingly  silly  as  some  of  the  flirts  Carmel 
"ays.  Xowhere  could  a  woman  have  such  a 
honey-sweet  face  and  so  few  brains.  The  Pa- 
risian mesdames  and  society  gamines  of  Carmel's 
repertoire  are  nearly  all  politely  inane,  having  no 
more  solidity  than  a  bubble.  Mi>-s  Myers,  there- 
fore, brings  out  the  nonsensical  personalities  of 
her  shadow  ladies  by  clothing  them  in  creations 
both  startling  and  naive,  as  ridiculous  as  their  wearers.  How 
perfect  were  the  two  gay  impossibilities  Carmel  flaunted  in  "Dr.  am 
of  Love,"  what  oddly  suitable  gowns  for  the  shallow-bra 
countess  who  wore  them!  Or  the  fanciful  things  worn  by  the 
equally  insipid  widows  in  "The  Demi-bride,"  "The  Gay  Deceiver." 
and  "A  Certain  Young  Man."  And  Carmel  covers  the  head-  of 
tlie-e  absurd  ones  with  white  wigs  which  she  finds  mosl  effective. 

Lily  Damita's  La  Perichole,  in  "The  Bridge  of  San  Lui 
was  a  role  as  unreal  as  could  he  imagined.     It   seems  as  th< 
Damita  could  have  worn  anything  of  a  bizarre  nature  for  her  role 
of  the  willful  dancer.     But  the  film  was  highly  pictorial,  and  . 
ful  attention  was  given  to  detail  in  settings  and  costumes.      Some 
really  charming  Spanish  interiors  wen-  conceived.     The  cortumes 

worn  by  Ernest  Torrence,  Don  \1- 
varado.  and  Paul  Ellis  w<  r<-  pic- 
turesque; Jane  Winton  wore  a 
lovely  bridal  gown  of  Spanish  lace 
and  satin;  Emily  Fitzroy  empha- 
sized her  somewhat  weird  Mar- 
by  wearing  mantilla 
failed,    old    1 

which  dragged  behind  her,  and  a 
So   this    boisterous,    im- 
petuous Catnila  solved  the  matter 


90 


Say  It  Witk  Clotkes 


of  dainty  charm  which  pervaded  the  film  with  a  loveliness  reminiscent 
of  the  pink-and-mauve  ladies  of  Gainsborough's  paintings.  She  carried 
out  this  same  quaint  charm  in  the  exquisite  costumes  she  wore  throughout 
the  picture.  Miss  Griffith  has  seldom  looked  lovelier  than  in  "The 
Divine  Lady." 

Alice  White  carried  out  the  personality  of  the  saucy,  piquant  Dixie 
Dugan,  in  "Show  Girl,"  by  appearing  in  costumes  with  a  personality. 
These  were  not  just  ordinary,  abbreviated  chorus-girl  skirts,  but  delight- 
fully individual  creations  designed  to  emphasize  the  atmosphere  which 
pervaded  the  ultra-modern  revues  in  which  Pixie  danced.  There  was  a 
colonial  costume  of  black  lace,  with  tight  sleeves,  high  neck,  and  postillion 
hat,  made  properly  modern  by  eliminating  the  skirt.  This  costume  was 
perfect  in  its  dash  and  gay  nonchalance. 

Leave  it  to  Jetta  Goudal  to  interpret  any  part  to  its  utmost.  In  "Her 
Cardboard  Lover,"  she  outdid  herself  in  her  delightful  caricature  of  the 
sophisticated  Mademoiselle  Simonc.  How  this  haughty,  temperamental 
creature  flounced  about !  The  combined  efforts  of  the  Rue  de  la  Paix 
could  never  have  brought  forth  such  absurdly  stunning  things  as  graced 
the  marvelous  Goudal.  Dresses  with  gayly  flowered  skirts,  tightly 
swathed  robes,  odd  capes  of  taffeta,  an  evening  cap  of  brilliants,  with  a 

band  of  brilliants  under  the  chin,  sur- 
mounted by  a  flaring  hat  of  horse  hair!  All 
were  so  fantastic  that  only  the  Goudal  could 
have  designed  them. 

Equally  expressive,  but  less  subtle,  were 
the  gowns  worn  by  Maria  Corda  in  "Love 
and  the  Devil."     Designed  to  emphasize  the 
Venetian     opera     singer     Madame     Corda 
played,  they  perfectly  expressed  the  digni- 
fied yet  naughty  lady  she  was.     In 
the   Venetian   scenes,    Maria   wore  a 
gondola  costume  of  white  coq  feath- 
ers, very  scant. 

Continued  on  page  116 


Emily  Fitzroy's  mel- 
ancholy Marquesa,  in 
"The  Bridge  of  San 
Luis  Rey,"  was  a  tri- 
umph   of    costuming. 


Alice  White  always  expresses  g 
nonchalance  in  her  costumes. 

of  authenticity  versus  ab- 
surdity by  letting  her  hair 
fall  down  and  wearing  giddy 
Spanish  costumes. 

The  seductive  beauty  of 
Evelyn  Brent  has  been 
framed,  of  late,  in  striking 
evening  caps.  Miss  Brent 
wears  them  with  splendid 
effect,  for  they  complement 
her  profde.  Some  of  feath- 
ers, some  of  silver  leaves, 
some  beaded,  they  intensify 
Miss  Brent's  characteriza- 
tion of  worldly  women,  the  sullen,  catlike  creatures 
for  which  she  is  famous.  Her  costumes,  many  of 
them  evening  gowns  and  negligees,  are  set  off  ex- 
quisitely  by  these  caps.  In  "The  Dragnet."  she  wore 
one  of 'black  feathers,  and  one  of  white  feathers; 
in  "His  Tiger  Lady,"  she  donned  one  of  sparkling. 
beaded  leaves,  another  of  tightly  wound  silver 
cloth.  In  "Broadway,"  she  wore  a  feather  ensemble 
which  included  a  tight  cap  of  caressing  plumes. 

Corinne  Griffith  fashioned  her  Emma  Hamilton, 
in  "The  Divine  Lady,"  into 

a    Dresden-china    beauty,      Carmel      Myers,      in 

from   a   Victorian   drawing-      "Dream      of      Love," 

n.      She  created  the  air        registered    frivolity. 


Evelyn 
Brent's 
evening 
caps 
enhance 
her 

sophisti- 
cated 
roles. 


WINNIE  LIGHTNER, 
champion  cugh  girl  of 
alkies,  oddi  one 
more  triumph  to  her  list 
in  Wo»ner  Bro$.  lotest 
oil  Technicolor  comedy 
wow,  "Hold   Everything" 


// 


twice  the  IT 


A  wonder  screen — Technicolor.  Everything  is 
alive  with  color — natural  color!  The  blue  in  blue 
eyes.  The  ruddy  glow  in  youthful  cheeks.  Sky, 
sea,  greensward  —  an  orchid  frock — orgingham.' 
"Twice  the  'it',''  you'll  say,  when  Technicolor 
brings  your  favorite  star  to  life.  Beauty,  charm, 
personality — nothing  escapes  the  subtle,  be- 
witching touch  of  Technicolor/ 


»   -* 


in 


Technicolor 


SOME    OF    THE    TECHNICOLOR    PRODUCTIONS 

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THE  TOAST  OF  THE  LEGION,  with  Bernice  Claire  (First  National,);  PARAMOUNT  ON  PARADE, 
oil-star  cast  (Paramount),  Technicolor  Sequences;  SAL.-  Marilyn  Miller  (  first  National ) ; 

SONG  OF  THE  FLAME,  -  *  Bernice  Claire  and  Alexander  Gf  Jat.onal);  THE  CUCKOOS, 

>•  •-     Bert    Wheeler,    Robert  Woolsey   and    Dorothy    lee    (Radio),   Te-  •    Sequences;    THE 

MARCH     OF    TIME,  all-star     cas-  ".oldwyn- Mayer ) ,     UNDER    A    TEXAS     MOON,     with 

Frank    Fay,    Nooh    Beery,    Myrna    loy    and  WOMAN    HUNGRY,    with 

Sidney  Blockmer  and  lilo  Lee  (First  Notional/;  VIENNESE  NIGHTS,  ail-star  ecu  (  rVamw  Bf 


^•#                                                                  ^« 

W                               V 

*                                 ♦ 

+ 

^^. 

m 

Lovely  LORETTA  YOUNG 

takes  hei  color  bow  in  First 

National's    all-Techni- 

rjfe 

color   outdoor    romance, 
"Heart   of   the    Noith  " 

SEND  A 
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Marion  Dmviea 


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A  PICTURE 

Based  on  the 

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Metro-Gold  wyn-Mayer 
Dept.  17,  1540  Broadway,  N.  Y.  C. 
Gentlemen:  I  am  enclosing  a  2c  stamp 
to  cover  cost  of  mailing.  Please  send  me, 
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M  ETR0-G0LD  WYN-MAYER 


"More  Stars  7/um  There  Arc  in  Heaven" 


•.II 


Tom  Thumb  Sport 

Hollywood   started   miniature   golf   courses   and   now 
they're  the  vogue  everywhere. 


01  the  three  hun- 
dred miniature 
golf  courses  in 
and  near  Holly- 
wood, Phillips 
Holmes,  right, 
finds  this  his  fa- 
v  o  r  i  t  c  .  He  is 
about  to  roll  his 
hall  up  and  over 
the  little  bridge 
and  into  the  h<>le. 
Maybe ! 


■■ioBHIM 


Marcia  Manners,  above, 
faces  the  problem  of  driv- 
ing her  ball  through  one 
of  those  things  that  look 
like  old-fashioned  croquet 
wick 


Even  more  difficult  is  the 
that  Jean  Arthur, 
below,  sets  out  to  accom- 
plish. For  her  ball  must 
travel  up  through  the 
hollow  log  and  land  on 
the  green  near  the  cup 
on  the  other  side, 
luck,  Jc.v 


Rosita  Moreno,  left,  i> 
undaunted  by  the  chance 
of  failing  to  make  the  hole, 
but  that  may  only  be  be- 
cause she  is  new  to  the 
game  as  well  as  a  new- 
comer  in   picture-. 


Phillips  Holmes,  below,  is 
puzzled — and  who  wouldn't 
he?  His  ball  must  go 
straight  between  the  sticks, 
swerving  neither  to  right 
ior  left.  Xow  do  you  un- 
derstand why  this  game 
i-n't    for    kiddies? 


' 


92 

Continued  from  page  27 

"You're  goin'  t<>  be  'disturb'  before 
you  commence,"  Mrs.  Markham  re- 
plied dryly.  "Right  now  there's  a 
gang  of  men  waitin'  to  see  you.  So 
many  ears  out  front  it  looks  like  a 
funeral." 

The  gates  slammed  behind  the  first 
of  them  at  that  instant.  A  lean,  alert 
young  man  hurried  across  the  room, 
glancing  back  nervously  over  his 
shoulder,  as   if  he  expected  pursuit. 

"I'm  Tom  Olsen,  of  Crandall  & 
Son,"  he  exclaimed  breezily,  thrust- 
ing a  card  into  Jane's  hand.  "Now, 
of  course.  Miss  Valencia,  you'll  want 
to  own  a  house  of  your  own  in  this 
wonderful  California,  and  I'm  ready 
to  show  you  some.  There's  a  charm- 
ing place  at  Hermosa  Beach " 

"That  dump!"  ejaculated  Mrs. 
Markham  scornfully. 

He  glared,  and  continued.  "And 
the  most  delightful  cabin  at  Arrow- 
head  Lake " 

"Snowbound  a  good  part  of  the 
year,  and  you  need  wings  to  get 
there,"  gloomily  commented  Jane's 
chaperon. 

Jane  turned  away,  only  to  find 
herself  facing  his  counterpart. 

"Ready  to  pick  out  your  car, 
sefiorita?"  demanded  this  new  tor- 
menter.  "I've  got  the  biggest  bar- 
gain in  town  out  here,  a  gorgeous 
Rolls,  upholstered  in  pale  blue " 

Mrs.  Markham  turned  her  atten- 
tion to  him. 

"That  old  bus  that  Nita  Parker 
drove  for  five  years?"  she  inquired 
significantly.  "And  Bill  Dewar  had 
it  before  her,  till  he  got  too  fat  to 
act." 

Undaunted,   the    salesman   hurried 

oil. 

"I  just  wanted  to  take  you  down 
to  the  showroom  in  it,"  he  told  Jane. 
"There's  a  roadster  there,  an  Eng- 
lish car " 

This  time  Mrs.  Markham's  voice 
showed  real  interest. 

"Say,  is  that  for  sale  again?"  she 
demanded.  "Couldn't  Marian  James 
finish  the  payments?  I  heard  her 
contract  wasn't  renewed." 

Before  he  could  speak,  a  languid 
youth  claimed  Jane's  attention.  He 
wanted  to  show  her  some  really  ex- 
quisite tapestries,  just  precious,  they 
were ;  they'd  belonged  to  the  czar, 
and  been  smuggled  in  from  China. 
Hard  on  his  heels  came  a  dignified, 
white-haired  woman,  bearing  a  jewel 
ease:  forced  to  sell  her  treasures,  she 
had  felt  when  she  saw  Jane's  picture 
that  this  lovely  creature  was  the  one 
person  who  could  wear  them. 

" Hooey!"  remarked  Mrs.  Mark- 
ham  forcefully. 

\  tall  young  man  in  flying  togs 
burst  in.  There  was  a  new  plane, 
especially  designed,  all  ready  for 
Jane,  and  he  would  pilot  her. 


Babes  in  Hollywood 

"1  do  not  fly,"  Jane  told  him  dis- 
tractedly. 

"But  you  will,  of  course,"  he  in- 
sisted. "Such  good  publicity — all  the 
stars  do  it — Belje  Daniels,  Patsv  Ruth 

Miller " 

"I  am  not  going  to  fly!"  stormed 
Jane,  suddenly  recalling  that  she  was 
Spanish  and  could  be  temperamental 
if  she  liked.  "I  do  not  fly!  I  do 
not  buy  ze  car,  ze  house,  ze  nozzing! 
I  retire  for  ze  siesta !"  And  she 
stalked  from  the  room,  while  Mrs. 
Markham   chuckled   maliciously. 

She  found  a  red-and-gold  bath- 
room, with  lop-sided  cherubs  leering 
from  the  ceiling,  took  a  shower,  and 
settled  down  on  a  chaise  longue  in 
the  adjacent  bedroom.  She  felt 
lonely  and  desolate.  If  only  Larry 
were  here !  He  might  have  sent  a 
cable  for  her  to  find  on  arriving.  After 
all,  she'd  never  have  come  if  he  hadn't 
begged  her  to,  to  get  him  out  of  a 
jam ! 

She  was  just  dozing  off  into  a  de- 
licious sleep  when  Mrs.  Markham 
hammered  on  the  door  with  one 
band  and  turned  the  knob  with  the 
other. 

"Cablegram     for    you,"     she     an- 
nounced.   "Maybe  somebody's  dead." 
Jane  opened  it  and  read  it,  with 
Mrs.  Markham  gazing  over  her  shoul- 
der. 

"Look  up  Polly  Barker,"  it  said; 
"good  luck.     Larry." 

He  hadn't  said  "love."  Even  if 
he  didn't  mean  it,  he  might  have  said 
it.  He'd  acted  as  if  he  cared  for 
her,  when  they  said  good-by.  Maybe 
he'd  met  some  other  girl  he  liked 
better.  Probably  he  had.  Probably 
he  was  sorry  he'd  met  her.  Prob- 
ably  

"That  Polly  Barker,  she's  a  script 
girl,"  offered  Mrs.  Markham,  settling 
herself  comfortably  on  the  foot  of 
the  huge  bed.  "Won't  get  anywhere, 
though — speaks  her  mind.  Takes 
Garbo  to  do  that ;  nobody  else  gets 
away  with  it." 

Gone  was  the  chance  to  rest,  even 
to  think.  Mrs.  Markham  started  on 
the  saga  of  Hollywood  that  was  to 
last  through  her  association  with 
Jane.  Tales  of  double  crossing,  scan- 
dal, disaster,  were  woven  into  that 
endless  recital.  She  had  worked  in 
all  the  studios,  had  known  every  one, 
according  to  her  story.  She  had  pre- 
dicted Norma  Shearer's  marriage, 
young  Fairbanks'  success,  the  com- 
ing of  the  talkies.  She  knew  things 
so  intimate  that  Jane  doubted  whether 
the  persons  most  concerned  knew 
them  themselves. 

At  nine  o'clock,  in  self-defense, 
Jane  announced  that  she  was  going 
to  bed. 

"I  guess  you'd  better,"  Mrs.  Mark- 
ham agreed.     "They'll  make  tests  of 


you  to-morrow  ;  that  is,  unless  they've 
decided  not  to  use  you  after  all. 
WOuldn't  surprise  me  if  they  didn't. 
We've  had  too  many  Spanish  now — 
public's  tired  of  'em.  Too  bad  you 
ain't  Bulgarian  or  somethin'  novel." 

She  was  all  set  to  go  to  the  studio 
with  Jane  the  following  morning; 
they  were  arguing  about  it  when  Tim 
Bowen  arrived,  thrust  a  bouquet  into 
Jane's  arms,  and  urged  her  to  hurry. 

"Me'n  the  Old  Man  are  just  like 
that,"  Mrs.  Markham  insisted,  cross- 
ing her  thick  fingers.  "I  got  more 
influence " 

Jane  ran  out  to  the  car. 

"I  cannot  stand  zat  woman !"  she 
cried  to  Bowen.  "She  drive  me 
mad!" 

"Too  bad,"  Bowen  answered.  "But 
you'd  better  keep  hep;  she's  a  bad 
enemy,  and  you'll  have  to  pay  her 
anyway." 

Jane  sank  back  limply.  She  won- 
dered how  many  more  people  the 
studio  had  engaged  in  advance  for 
her  to  pay. 

Bowen  spread  out  a  bundle  of 
newspapers. 

"Seen  the  papers  this  morning?" 
he  demanded  proudly.  "We  got  a 
swell  spread  on  you,  all  right." 

Jane  read  them.  She  was  a  typi- 
cal Spanish  beauty,  she  discovered,  of 
pure  Castilian  blood,  a  member  of  a 
famous  old  family.  She  spoke  no 
English.  In  another  paper,  she  was 
not  Spanish  at  all,  but  Mexican,  as 
any  one  could  see  at  a  glance.  She 
had  flown  into  a  passion  and  slapped 
the  interpreter  provided  for  her,  be- 
cause, being  Mexican,  she  could  not 
understand  him.  He  was  going  to 
sue  her. 

She  was  interesting,  but  not  pretty, 
and  probably  would  never  appear  on 
the  screen,  Hollywood  being  plenti- 
fully provided  with  Mexican  beauties 
who  were  both  beautiful  and  talented. 

"That  guy's  crazy  about  Lupe  Ve- 
lez,"  Bowen  explained.  "Besides,  he 
was  mad  because  there  wasn't  any 
Scotch  at  the  house  yesterday.  I 
sent  him  a  bottle  this  morning,  and 
he's  promised  to  do  an  interview  with 
you  for  Sunday  and  mix  things  up." 

"I'll  never  speak  to  him  again !" 
cried  Jane. 

"Sure  you  will."  Bowen  corrected 
her.  "Offend  the  press  and  you 
might  as  well  be  picking  tulips  in 
Amsterdam." 

"Sometimes  I  wish  that's  where  I 
was,"  Jane  replied,  beneath  her 
breath. 

"The  Old  Man,"  as  every  one 
called  the  president  of  Superba,  was 
not  in  when  she  reached  the  studio. 
His  secretary  was  rather  vague  about 
when  he  would  arrive.  She  was  even 
more  vague  about  Jane,  Jane's  pic- 
Continued  on  page  94 


93 


Tkeir  Uneasy  Glon? 

When  one   is  a  star  one  never   knows  when   fate  may   change 
a  crown   for  overalls,  or  a  maid's  cap  and  apron. 


lia  Ddl.  left,  was  Guinevere  in 
the  pageant  that  was  made  for  "Glori- 
fying  the    American    Girl,"   Inn    not 
even  the  oldest  inhabitant  remembers 
whether  it  was  cut  out  or  not 

Bebe  Daniels  and  Joel   Mct'rca.  right, 

arc   royal   rulers   of   Mardi   Gras   in 

"Dixiana,"   but   who  knows  how   long 

their  reign  will  la>t  ? 

Jeanette  MacDonald,  below,  wears  her 
crown  askew  in  "Let's  Go  Native." 


Norma  Terris  and  J.  Harold  Mur- 
ray, lower  left,  tempted  fate  as  sov- 
ereigns in  "Married  in  Holly- 
wood," and  Miss  Terris  abdicated. 

Richard  Keene,  below,  parodies  a 

king  of  Ireland,  which  seems  to  ns 

a   dangerous   thing  to  do. 


94 

Continued  Erom  page  92 

ture,  and  everything  connected  with 
it.  Bowen  gave  her  a  suspicious 
glance  ;m<l  muttered,  "Say.  what's 
the  low-down?"  and  went  into  a  hud- 
dle with  her  at  the  other  side  of  the 
i  iffice. 

Jane  sat  down  and  engaged  in 
gloomy  reflection.  Perhaps  Airs. 
Alarkham    had    been    right,    after    all. 

Bowen  returned  to  her  presently; 
his  manner  was  more  brisk  than 
usual,  and  he  seemed  less  concerned 
about  her. 

"You  might  look  around  the  studio 
while  you're  waiting,"  he  suggested. 
"I'll  see  if  I  can  run  down  this  Polly 
Barker  you  mentioned,  whoever  she 
is.  and  perhaps  she'll  take  you  in 
charge." 

So  Jane  waited  some  more.  People 
who  came  in  to  see  the  Old  Man  and 
remained  to  confer  with  Miss  Bowles, 
his  secretary,  stared  at  her  curiously, 
and  quite  obviously  asked  about  her. 
One  or  two  smiled. 

Would  it  he  safe,  she  wondered,  to 
stage  a  lit  of  temperament  and  walk 
out'  After  all,  she  was  supposed  to 
be  Spanish.  Yet  she  didn't  quite 
dare  leave.  It  was  humiliating  to  sit 
here,  as  if  she  were  applying  for 
work,  but  perhaps  she'd  better  en- 
dure it. 

Half,  an  hour  passed.  She  was 
about  ready  to  storm  out  of  the  office 
when  a  girl  rushed  in.  a  lovely,  fra- 
gile-looking blonde,  with  orchids 
cascading  down  the  lapel  of  her  lav- 
ender coat. 

"Where's  J.  G.  ?"  she  demanded. 
''I  want  to  see  him!  Look  at  this" — 
waving  a  newspaper  whose  reporter 
bad  been  kind  to  Jane.  "Who  is  this 
spigoty,  to  get  all  this  space?  I.'m  the 
biggest  star  this  company  has,  and 
I'll  walk  out  if " 

Miss  Bowles  tried  to  quiet  her.  hut 
she   shook   off   the    restraining   hand. 

"In  the  first  place,  that's  my  story 
they're  talking  about  giving  her."  she 
raved.  "What  if  she  is  Spanish?  I 
can  wear  a  black  wig,  can't  T?  I've 
got  a  public,  haven't  I?  Who's  ever 
heard  of  this  girl?  Who'll  go  to  see 
her?  What'll  the  exhibitors  say? 
Remember,  it's  the  box  office  that 
counts.  Larry  just  sent  her  over  here 
to  annoy  me — she'll  he  a  bust " 

Jane  sat  quiet,  trying  to  look  as  if 
she  did  not  understand.  She  was 
both    frightened   and    furious. 

"Anyway,  the  Old  Man's  not  go- 
ing to  Spain,  he's  headed  for  Japan," 
the  blonde  continued.  "And  this 
girl " 

Jane  was  relieved  to  see  Tim  Bow- 
en's  face  in  the  doorway.  Catching 
sight  of  the  blonde,  lie  advanced  no 
farther,  but  merely  beckoned,  and 
obediently  joined  him. 

"Paula  been  shootin'  the  works?" 
he    inquired,    as   he   closed    the   door 


Babes   in  Hollywood 

softly.  "I  mean — has  she  been  rav- 
ing?" 

"/at  girl,   1   do  not  onnerstan'  all 

she  say."  Jane  told  him.  "She  seem 
ver'  angry." 

"Ver"  angry  is  right."  he  laughed. 
"Better  keep  out  of  her  way  all  you 
can.  Xow,  this  Barker  female — she's 
a  script  girl,  and  she'll  show  you 
around.      1  [ere  she  is." 

Polly  Barker  was  little  and  pert 
looking,  and  the  smile  with  which  she 
greeted  her  was  so  genuinely  friendly 
that  Jane  almost  wept  on  her  shoul- 
der. 

"Glad  to  meet  you,"  she  exclaimed. 
"Mr.  Bowen  says  you  understand 
English,  and  Larry  Bishop  cabled  me 
that  you're  a  grand  person,  so  we 
ought  to  get  along.  Want  to  see  the 
animals  perform?" 

Jane  nodded.  And  as  she  and 
Polly  walked  down  the  corridor  she 
began  to  ask  questions. 

"Why  is  it  zat  zese  people  send 
for  me,  and  when  I  come  to-day  no- 
body seem  to  know  what  I  am  to 
do?"  she  inquired. 

Polly  chuckled. 

"Don't  let  that  discourage  you. 
Nobody  knows  whether  the  picture 
you're  to  do  is  heavy  dramatic  stuff 
or  just  musical,  or  maybe  farce,  and 
they  don't  want  to  commit  themselves. 
Yesterday  they  were  calling  it  'Hot 
Tamale,'  and  the  day  before  it  was 
'A  Spanish  Love  Song.'  You  see, 
there  are  two  factions  here,  the  men 
who  plav  tennis  and  those  who  play 
golf.  They  never  agree  on  anything. 
Some  days  one  crowd  is  in,  some  days 
the  other's  running  things.  The  ten- 
nis men  are  quick  and  jumpy,  make 

snappy    decisions "    she    snapped 

her  fingers  so  loudly  that  Jane 
jumped.  "The  others  go  in  for  dig- 
nity." 

"And  zis  Ole  Man,  what  do  he 
play?"  asked  Jane. 

Polly  laughed  again. 

"Oh,  be  plays  pinochle,"  she  an- 
swered. "That's  what's  the  trouble 
with  the  movie  business.  Can't  have 
any  real  competition  because  the 
heads  of  the  companies  all  play  pin- 
ochle, and  they  can't  get  up  a  real 
game  without  the  other  big  men.  If 
they  cut  each  other's  throats  in  busi- 
ness their  favorite  sport  is  gone." 

"And  my  picture?"  Jane  reminded 
her. 

"Well,  your  picture's  in  a  bad  way 
right  now,  but  by  afternoon  things 
will  be  all  washed  up — T  mean  all 
fixed,"  she  explained.  "You  see, 
somebody  in  New  York  had  a  brain- 
storm and  signed  up  a  female  im- 
personator, a  big  guv.  for  six  weeks. 
They're  paying  him  four  grand — four 
thousand — a  week,  and  they've  got  to 
do  something  with  him  quick.  So 
now  they're  teaming  you  two,  see?" 


"But  why  they  sign  him,  if  they  do 
not  want  him  ?" 

Polly  sighed,  and  opened  the  door 
to  the  main  studio. 

"That's  movie  business,"  she  an- 
swered. "Maybe  they'll  make  one 
with  him  first,  and  farm  you  out  to 
some  one  for  experience.  Somebody 
said  they  might  rent  you  out  for 
Clara  Bow's  next." 

"Oh,  not  with  Clara  Bow !"  cried 
Jane.     "I'll  be  so  afraid " 

"Listen,  Clara  would  treat  you  like 
her  favorite  sister,"  Polly  assured 
her.  "She's  grand.  It's  the  sweet 
ones  who  tear  you  to  pieces.  Like 
our  darling  Paula  Wilding,  right 
here.  Paula's  after  your  scalp,  after 
that  stuff  in  the  papers.  She  goes 
goof}-  if  anybody  else's  name  is  men- 
tioned, except  in  an  obit,  and  they 
say  she  was  frightfully  jealous  of 
Valentino's  publicity  when  he  died." 

"She  has  power?"  asked  Jane 
thoughtfully. 

"Married  to  one  of  the  bosses," 
Polly  answered  laconically.  "She  was 
through  five  years  ago,  but  nobody 
dares  fire  her." 

"And  you — what  do  you  do  here?" 
Jane  wanted  to  know. 

"Script  girl,"  Polly  replied.  "You'll 
see  one  in  action  soon,  so  I  won't  try 
to  tell  you.  Temporarily  I'm  at  large. 
I  was  on  Hugh  Gilson's  picture — he's 
a  director — and  when  he  asked  what 
I  thought  was  wrong  with  it  so  far, 
I  told  him.  The  Old  Man  sent  for 
me,  wanted  to  know  what  I'd  said. 
T  just  repeated  the  suggestions  you 
made  in  the  cutting  room  the  other 
day,'  I  told  him — not  that  he'd  made 
any !  But  they  were  good  ones,  so 
be  was  pleased,  and  now  Gilson's  off 
the  picture  and  I'm  to  work  on  it, 
no  matter  who  directs  it.  Incident- 
ally, Gilson's  the  guy  who  owns  that 
house  you've  rented." 

"Does  every  one  in  this  place  know- 
all  about  my  business?"  demanded 
Jane,  aghast. 

"Just  about,"  Polly  answered,  and 
patted  her  on  the  shoulder.  "But 
don't  you  worry.  AYhat  people  don't 
know,  the}-  make  up,  in  this  town. 
What  do  you  hear  from  Larry?" 

"Nothing,  except  to  find  you," 
Jane  told  her,  forgetting  to  be  Span- 
ish. 

"Well,  that's  like  him.  He  was  due 
back  here  this  week,  but  he  got  them 
to  send  him  somewhere  else  after  he 
started  you  home."  She  glanced  at 
Jane,  speculatively.  When  sbe  went 
on  her  voice  was  casual,  but  her  blue 
eyes  were  still  keen.  "Paula  made  it 
pretty  hot  for  him  when  be  walked 
out  on  her,  and — oh,  hullo,  Mr.  Gil- 
son." 

The  man  to  whom  she  spoke  ex- 
claimed enthusiastically,  "Hullo,  dar- 
Continucd  on  page  104 


').-. 


"S 


oup 


Men" 


That's   the  gangster  term  for  safe  robbers. 


\ 


Ben     Lyon,     above,      in 

"Alias  French  Gertie,"  is 

"signing   bis    name"   to  a 

safe. 


Eddie    Gnbbon,    F.dmuntl    Lowe,    and    Mike 
Donlin,  above,  are  tough  hombres  in  "Born 
Reel ' 


Just  one  more  strange 
event  in  "Seven  Keys  to 
Baldpate"  is  the  rifling 
of  the  safe  by  Alan  Ros- 
coe,  below. 


1 


In  "Slightly 
Scarlet,"  Evelyn 
Brent, 

out   for  a  haul. 


Stuart  Krwin. 
left)  i»"kc^  fun 
at  the  safe  rob- 


iJ        K    (7 

v 

9G 

Continued  from  page  69 

Trixie,  a  newcomer  to  the  aggrega- 
tion of  talent,  cuts  her  out  by  as  ob- 
vious means  as  ever  were  employed 
by  an  overacting  vamp  of  the  ancient 

school.  Whisky  and  cards  and  eye 
rolling,  all  part  of  a  plot  to  get  the 
box-office  receipts  of  which  Ccrry  is 
the  custodian.  Gerry  retards  matters 
by  singing  now  and  then,  and  Fred 
Scott,  who  plays  him,  has  a  pleasant 
tenor  voice,  hut  nothing  else  that 
makes  the  hero  a  man  of  any  one's 
dreams.  Helen  Twelvetrees  is 
Maryan,  properly  wistful  as  a  good 
actress  should  he  under  the  circum- 
stances, hut  though  she  does  her 
stuff  in  an  orderly  manner  and  regis- 
ters heartbreak  with  Bernhardt  over- 
tones— proving  that  she  knows  how 
to  act — still,  she  is  not  strong  enough 
in  her  emoting  to  evoke  a  tear,  or 
cute  enough  in  her  girlishness  to  make 
one  care  whether  she  dies  in  a  fall 
from  the  trapeze  or  not. 

Yes,  there's  that  to  contend  with 
— an  accident  at  the  crucial  moment, 
managed  so  much  better  in  "The 
Four  Devils"  that  one  wonders  at  the 
hardihood  of  any  one  in  copying  it. 

There  you  have  "Swing  High," 
and  there  isn't  any  more,  except  that 
Dorothy  Burgess,  as  Trixie,  carries 
on  to  such  an  extent  that  you  wish 
to  add  your  mite  toward  sending  her 
to  a  sanitarium  to  recuperate  from 
overexertion  and  George  Fawcett, 
John  Sheehan,  Bryant  Washburn,  and 
Little  Billy,  the  midget,  give  good 
performances.  There  are  also  Nick 
Stuart,  Sally  Starr,  Daphne  Pollard, 
Chester  Cotiklin,  Ben  Turpin,  Stepin 
Fetchit,  and  Robert  "Edeson  in  eco- 
nomical hits. 

Puppy  Love. 
Light,  oh.  very  light,  is  "She's  My 
Weakness,"  but  it  is  not  negligible, 
if  you  are  not  looking  for  something 
great  and  big.  For  one  thing, 
Arthur  Lake  contributes  a  fine  per- 
formance, and  there  is  also  Sue  Car- 
ol, who  has  her  place  in  the  scheme 
of  cinematic  things,  I  suppose,  as 
long  as  there  is  a  demand  for  pouting 
prettiness.  There  always  has  been, 
so  why  cavil  ? 

They  are  engaged  in  a  story  about 
callow' love,  its  frustrations  and  ulti- 
mate triumph.  It  is  intimately  set 
forth,  with  much  homely  detail,  and 
centers  about  the  youthful  suitor  who 
ingratiates  himself  with  the  parents 
of  the  girl  he  likes  instead  of  with 
the  girl  herself,  a  box  of  drug-store 
candy  being,  in  this  instance,  the 
lover's  ammunition.  Until  he  is  put 
wise  to  himself  by  the  girl's  uncle,  a 
character  beautifully  played  by  Wil- 
liam Collier,  stepfather  of  Buster. 

Perhaps  it  means  nothing  to  the 
younger  generation,  but  ye  gods!  it  is 
pure  joy  to  an  old-timer  to  hear  lines 


The  Screen  in  ReViev? 

read  as  Mr.  Collier  reads  them.  Such 
quiet  eloquence  isn't  born  of  the 
studios ;  it  is  the  heritage  of  a  life- 
time on  the  stage.  Mr.  Collier  was  a 
star  in  light  comedy  for  years,  with 
such  individuality  and  success  that 
wisecracks — only  we  didn't  call  them 
that  then — came  to  be  known  as  Col- 
lierisms.  Well,  at  any  rate,  Mr.  Lake 
is  the  star  nowadays  and  his  per- 
formance is  such  as  Mr.  Collier 
would,  I  am  sure,  commend.  Helen 
Ware  and  Lucien  Littlefield  are  Miss 
Carol's  fussy  parents,  and  the  rival 
suitor  is — without  wishing  to  be  un- 
kind— forgotten. 

Below  the  Level. 
Heaven    knows    "On    the    Level" 
isn't  important,  and  it's  only  mildly 
interesting,  but  it  has  arresting  per- 
sonalities to  redeem   it — Victor   Mc- 
Laglen, William  Harrigan.  Fifi  Dor- 
say  and,  last  but  by  no  means  least, 
Lilyan  the  Tashman.     I  don't  know 
how  you  feel  about  it,  but  no  picture 
that  boasts  the  presence  of  la  Tash 
is  lost  to  me.    Remember  "Puttin'  on 
the    Ritz"    and    how    you    resented 
Harry  Richman   as  the   star?     And 
would   have  walked  out,   except   for 
Madame  Tashman?    Well,  I  felt  the 
same  way  about  it.     And  do  about 
"On  the  Level"  only,  between  our- 
selves,   it   really   is   a  more   amusing 
offering.     It's  all  about  a  big-hearted 
steel  worker  who  becomes  enamored 
of  a  lady  member  of  a  gang  of  real- 
estate  crooks,  how  he  plays  into  the 
hands   of  the   conspirators   and   how 
the  savings  of  his  fellow  workers  in- 
trusted to  him   are   saved   from  the 
predatory   gang.      It    isn't   believable 
one  moment.     You  can't  tell  me  that 
there  exists  a  man  who  looks   forty 
years    old,   as    Mr.    McLaglen    does, 
who  could  be  so  guileless ;  and  you 
can't  tell  me  there  exists  a  gold  dig- 
ger who  smiles  so  broadly  and  exerts 
her    lure    so    unashamedly    as    Miss 
Tashman  does,  without  causing  doubt 
of    her   sincerity.      However,   as    it's 
all  a  movie  anything  goes.    Miss  Dor- 
say  appears  as  the  discarded  or  for- 
gotten sweetheart — these  distinctions 
are  so  very  fine — of   Mr.   McLaglen 
and  it  is  she,  I  believe,  who  stirs  his 
sleeping  mind  into  a  realization  that 
Miss  Tashman  is  not  the  ingenue  she 
pretends   to   be.      Still    I    insist   that 
Miss  Tashman  dominates  the  picture. 
Her  husky  voice,  her  air  of  knowing 
more  than  what  it's  all  about — I  may 
be  maudlin,  but,  to  me,  Miss  Tash- 
man is  the  star. 

Minus  Rhyme  or  Reason. 

Neither  Alice  Wrhite's  ability  as  an 
actress  nor  the  shapeliness  of  her 
legs  is  sufficiently  arresting  to  miti- 
gate the  tedium  of  "Sweet  Mamma/' 
in    which   she    is    starred,   and   it   is 


doubtful  if  Garbo  herself  could  do 
more.  So  this  report  of  it  must  not 
be  construed  as  a  criticism  of  Miss 
White's  limitations.  Called  Goldie, 
she  is  the  heroine  of  a  crook  story 
without  a  whisper  of  originality.  A 
jumble  of  night-club  stuff,  counter- 
feit money,  a  pent-house  party,  gang- 
sters and  such,  the  incidents  which 
involve  them  are  not  worth  recount- 
ing. But  the  photography  is  good, 
even  if  the  acting  isn't,  and  some  of 
the  gyrations  of  girls  on  a  revolving 
stage  are  attractively  pictured.  Ken- 
neth Thomson,  as  the  lecherous  gang- 
ster, is  a  nice  business  man,  and 
David  Manners,  as  the  nominal  hero, 
is  somehow  literary.  Rita  Flynn  sug- 
gests possibilities  in  a  small  role  and 
Robert  Elliott  is  his  usual  phleg- 
matic detective. 

Mais  Non,  Madame. 
Billie  Dove  in  another  picture  that 
doesn't  quite  make  the  grade,  "Sweet- 
hearts and  Wives,"  a  medley  of  draw- 
ing-room farce  and  mystery,  with 
jewels  and  a  murder.  For  the  first 
part  of  the  picture  Miss  Dove  ap- 
pears as  a  French  maid  in  cap  and 
apron,  but  the  exigencies  of  the  plot 
cause  her  to  discard  such  humdrum 
habiliments  for  trailing  gowns  that 
show  her  figure  to  better  advantage, 
if  not  her  art.  The  display  is  only 
mildly  interesting  and  Miss  Dove  re- 
mains a  good  amateur  actress,  though 
she  negotiates  her  French  speech 
rather  well  and  she  is,  as  always, 
grateful  to  the  eye,  a  sort  of  fem- 
ininized  Julian  Eltinge,  if  you  re- 
member him.  One  finds  Sidney 
Blackmer  and  Leila  Hyams.  eloping. 
Accident  brings  them  to  an  inn, 
where  Miss  Hyams  quarrels  with  her 
lover  and  they  find  themselves  en- 
meshed in  a  murder  mystery  under 
the  scrutiny  of  a  detective.  For  the 
sake  of  a  spicy  situation  Miss  Dove, 
as  the  maid,  changes  places  with  Miss 
Hyams  that  the  detective  may  be  de- 
ceived, and  there  is,  of  course,  con- 
siderable parading  in  and  out  of  the 
bedroom.  It  all  turns  out  that  Miss 
Dove  isn't  a  servant  at  all,  but  a 
British  noblewoman  intent  on  recov- 
ering a  diamond  necklace  belonging 
to  her  sister. 

I  found  it  quite  tedious  and  some- 
what confused,  though  the  production 
is  handsome  and  the  photography 
good.  As  much  cannot,  however,  be 
said  of  the  acting.  But  see,  if  you 
care  to,  for  yourself.  Give  Brook 
and  John  Loder  are  among  those 
present. 

Stale  Pepper. 

"Pepper,    you're   the    salt   of    the 

earth,"   says   Stanley   Smith.     "Salt, 

pepper,    baloney!"    is    Clara    Bow's 

Continued  on  page   104 


«»7 


"Monday,  Washday- 

Even  the  players  have  their  laundry  problems. 

t 


Cameras    are    such    tricky 
things   in    Hollywood   thai 

even  a  cute  pup  may  pop 
his  head  out  through  the 
view  finder,  as  this  one 
does  to  .greet  R  a  q  u  e  1 
Torre--,  above. 

Louise  Fazenda,  below,  is 
not  too  sophisticated  to 
sing,  "Where,  oh,  where 
has  my  little  <1ul;  gone?" 
just  by  waj  "i  kidding  the 
little  pooch,  \  uii  know. 


98 

Continued  from  page  33 
begun,  just  to  the  age  of  seven,  and 
ii  to  show  some  of  this  intuition 
I  speak  of,  behaving  more  like  a  boy 
nf  fifteen  than  a  little  child,  although 
the  emotional  pressure  upon  you 
must  have  almost  made  you  ill.  By 
the  age  of  nine  you  were  a  very  hand- 
some, warm-hearted  boy,  and  I  am 
Mire  that  little  girls  admired  you  im- 
mensely, when  you  were  not  too  shy 
to  give  them  a  chance. 

You  were  already  trying  to  put 
some  of  the-  creative  urge  within  into 
expression  when  you  were  fourteen, 
writing  imaginative  stuff  and  then 
hiding  it  away.  It  was  very  good, 
too,  and  during  your  high-school 
years  it  was  even  better.  You  began 
to  analyze  and  understand  yourself 
to  some  extent,  and  to  use  reason  and 
intelligence  more  clearly  to  guide 
your  steps,  but  the  struggle  between 
reason  and  intuition  became  very 
strong,  a  struggle  that  will  never 
leave  you. 

You  developed  spiritual  self-con- 
sciousness as  few  young  men  do,  and 
it  led  you  at  about  eighteen  to  real 
self-assertion  and  independence.  This 
independence  was  tied  up  with  the 
fine  fire  of  youth  and  the  creative  urge 
that  burns  in  you  like  a  pure  flame. 

You  have  idealized  it,  kept  it  shel- 
tered, kept  it  to  express  only  as  the 
expression  accorded  with  your 
dreams.  It  is  your  blessing  and  it 
may  become  your  curse.  It  has  led 
you  into  a  happy  marriage,  and  it 
will  keep  you  there  if  you  learn  to 
keep  your  sympathetic  imagination  in 
check. 

Never,  never  respond  to  any  sym- 
pathy away  from  home.  You  are 
too  honest  to  seek  it,  and  of  course 
right  now  you  do  not  believe  that  you 
could  ever  need  any  at  all.    But  how- 


The  M^sten?  of  Your  Name 

ever  much  you  hope  that  love  has 
changed  you,  you  know  that  in  es- 
sence you  have  not  changed  at  all. 
There  will  be  soft  words  to  flatter 
you  and  soft  hands  to  flutter  over 
yours,  and  in  one  of  your  dark  moods 
you  will  be  tempted  to  listen,  just  be- 
cause listening  will  be  comforting  and 
sweet.  If  you  do,  you  will  be  invit- 
ing chaos. 

Your  love  is  very  idealistic  and 
very  fiery  at  the  same  time,  but  the 
least  little  lack  of  harmony,  often 
imaginary,  will  drive  you  into  miser- 
able self-condemnation.  At  such 
times  you  feel  that  you  are  bitterly 
misunderstood  and  not  worth  any- 
body's trouble,  anyway,  as  far  as 
their  trying  to  understand  you  is  con- 
cerned. After  that  you  turn  cynic 
for  a  while.  Understand  you,  indeed  ? 
Who  ever  understood  anybody,  and 
who  cares?  But  when  you  look  up 
just  long  enough  to  be  aware  of  sor- 
row in  a  pair  of  beloved  eyes,  you 
open  your  heart  to  happiness  again, 
grieving  this  time  that  you  should 
ever  cause  grief. 

You  have  up  to  the  age  of  at  least 
forty-five  a  wonderfully  successful 
name.  It  contains  from  now  on 
great  mental  and  creative  activity. 
You  will  be  very  successful  in  a  ma- 
terial way  between  twenty-eight  and 
thirty,  and  at  thirty-five  you  will  be 
independent,  masterful,  dictating 
your  own  terms,  hampered  by  one 
thing  only,  your  fatal  willingness  to 
please.  Don't  you  know  that  it  is  a 
crime  against  your  own  soul  to  give 
in  just  for  the  sake  of  giving  in? 
Never  mind  what  anybody  thinks,  as 
long  as  you  are  harming  no  one.  Be 
yourself. 

By  the  age  of  forty  you  will  be  the 
master   of    a    fortune    of    your    own 


making.  After  that  you  will  continue 
to  earn  a  great  deal,  but  will  some- 
how get  into  entanglements  that  will 
rob  you  of  much  of  your  wealth. 
You  will  never,  however,  have  to 
worry  seriously  about  your  income, 
no  matter  how  much  you  may  worry 
needlessly  just  the  same.  Fight  shy, 
I  repeat,  of  gold  diggers,  young  and 
old.  They  will  seek  you  more  con- 
sistently after  fifty  than  before. 

All  your  activity  is  the  activity  of 
great  nervous  energy,  a  very  store- 
house of  it  that  can  easily  run  wild  if 
there  is  no  firm  hand  to  control  the 
dynamo.  You  have  two  beautiful 
switches  to  serve  as  releases  for  your 
true  power.  One  is  creative  imagi- 
nation, which  you  must  put  to  work. 
Make  something  definitely  your  pur- 
pose in  life,  and  pour  your  whole 
soul  into  it,  for  it  will  ruin  you  to 
pick  up  one  role  and  then  another 
and  another,  with  no  separate,  de- 
tached, complete,  objective  creation 
that  you  can  call  entirely  yours. 

The  other  switch  to  guide  your 
power  is  your  spiritual,  divine  appre- 
ciation of  life,  your  insight  into 
meanings  to  which  others  are  blind. 
Your  emotional  nature  will  respond 
electrically  to  everything  that  devel- 
ops this  intuitive  self  within  you,  and 
with  it  as  a  guide  you  can  never  go 
wrong. 

You  are  very,  very  easily  controlled 
in  every  way.  This  makes  you  an 
artist,  but  it  is  sure  to  conquer  you 
if  you  do  not  conquer  it,  especially  in 
the  realm  of  love  and  desire,  where 
acquiescence  seems  so  beautiful  un- 
til it  has  led  to  the  grave. 

Be  the  master  of  yourself  and  you 
can  master  the  world.  Be  at  the  beck 
and  call  of  no  one,  or  you  will  be 
enslaved. 


Tke  MvsterV  of  Your  Name 

Continued  from  page  32  "  " 

Girls  marry  in  haste  when  they  are     the  helpless  victim  wonders  what  is 

the  matter,  that  he  cannot  awaken  any 
interest  in  the  opposite  sex,  which  al- 


thirty,  regardless  of  the  supposed 
henefits  of  self-support,  in  terror  of 
being  left  without  another  chance, 
when,  if  they  only  knew  it,  there  are 
intense  love  affairs  revealed  in  the 
readings  of  names  of  men  and  women 
long  past  forty.  It  may  seem  a  long 
time  to  wait,  but  how  infinitely  better 
than  spending  all  that  time  with  a 
man  or  woman  one  does  not  really 
love! 

It  quite  often  happens  that  a  boy 
will  he  desperately  in  love  more  than 
once,  without  being  able  to  arouse 
anything  more  than  a  mild  interest 
in  the  girl  he  loves.  We  all  think  we 
express  what  we  feel,  but  this  is  a 
great  misconception. 

Or  again,  we  may  he  afraid  to  ex- 
s  anything  at  al".     Tn  either  i 


ways  means  an  unresponsive  woman 


The  matter  lies  in  those  feeble 
wave  lengths  I  spoke  of,  the  measure 
of  the  vibrations  of  life  as  he  ex- 
presses them  at  the  time.  And  of 
course  it  may  also  be  that  there  is 
positively  no  vibration  for  love  in 
her  within  a  certain  period,  in  which 
case  all  his  sighing  is  but  wasted 
effort ! 

Eager  lovers  would  cry  out  in 
protest  at  being  blamed  for  indif- 
ference, but  there  is  a  kind  of  indif- 
ference that  consists  in  being  unwill- 
ing to  fight  for  what  one  greatly  de- 
sires. The  woman  afflicted  with  this 
ailment  will  beautify  it  with  the 
names  of  dignity  and  self-confidence 


and  a  willingness  to  make  the  best  of 
things,  but  it  is  an  indifference,  a  re- 
luctance just  the  same. 

Love  should  be  a  fire,  a  passion, 
an  intense  activity  that  will  not  en- 
dure refusal,  to  be  worthy  of  its 
name. 

It  is  a  great  pity  that  so  many  cir- 
cumstances and  relationships  must 
dampen  the  ardor  of  its  true  nature, 
but  the  conditions  we  live  in  are 
spiritually  a  part  of  our  own  creation 
and  are  the  negation  we.  must  learn 
to  overcome,  in  another  life,  if  not  in 
the  one  we  are  living  in  now. 

Just  as  some  are  brutal  or  stupid  or 
narrow-minded  in  love,  so  others 
prove  by  their  behavior  that  they  have 
gone  through  innumerable  experi- 
ences and  have  profited  by  them  for 
Continued  on  page  107 


99 


Cap  and  Cloxtfn 


Who  doesn't  like  to  do  like  Jack  Oakie? 


Back  when  Henry  VI IF. 
was  a  popular  idol,  mem- 
bers of  the  court  wore  nice- 
velvet  hats  with  plumes 
and  doodads,  as  above. 


( 


*\ 


( 


i 


. 


''Fetch    on    the    Duke 

of  Wellington,"  growls 

the   Oakie    version   of 

Napoleon,  above. 


Here,  at  our  left,  IS 
Oakie  impersonating  a 
Hun  out  looking  for 
Romans.  Those  things 
on  the  cap  are  teeth. 
In  the  unspeakable  *90i 
all  gay  dogs  turned 
out  with  gray  I 
-lit. 


100 

(  ontinued  from  page  63 

Conchita  Montenegro,  acting  in  the 
Spanish  version  of  Buster  Keaton's 
"Forward   March." 

Gns  Shy,  a  comedian  in  "Good 
Xcw  s." 

Walter  Hasenclever,  European 
dramatist,  now  writing  for  M.-G.-M. 

Montenegro- — Shy  —  Hasenclever! 
What  would  we  do  without  such  va- 
riety in  the  movie  world? 

Skinner  a  Grandpa. 

Otis  Skinner  as  Hajj!  To  old- 
timers  of  the  theater  this  may  mean 
much,  for  "Kismet"  was  considered 
this  star's  greatest  play. 

We  saw  Skinner  on  the  set  a  few 
days  after  he  had  drowned  the  Wazir 
Mansur  in  the  plunge  of  the  Tur- 
kish bath — the  biggest  event  in  the 
play,  since  the  Wazir  was  his  enemy. 
All  who  saw  the  stage  version  will 
recall  this   famous  scene. 

Skinner,  in  the  midst  of  terrific 
midsummer  heat,  was  having  a  time 
keeping  cool.  His  head  was  covered 
with  a  moist  chamois  skin,  and  each 
wrist  was  circled  with  a  piece  of  wet 
absorbent  cotton.  And  despite  the 
heat  and  his  seventy-one  years  he 
was  in  high  spirits. 

We  learned  that  a  new  arrival  is 
anticipated  in  the  home  of  his 
daughter. 

Dolores    Practices    Spanish. 

Curious  thing  this — Dolores  del 
Rio  is  learning  to  speak  with  a  Span- 
ish accent. 

It  seems  that  she  worked  so  hard 
to  perfect  herself  in  English,  that  it 
was  thought  her  inflection  would  not 
be  proper  for  her  role  in  "The  Dove." 
So  Willard  Mack,  the  playwright, 
she  tells  us,  was  engaged  to  coach  her 
for  the  role — that  of  a  Latin-Ameri- 
can. 

Studio  Has  Elevator. 
The  first  elevator  in  a  studio  now 
is  the  glory  of  a  new  building  on 
the  Paramount  lot.  It  is  a  small  self- 
operating  affair — that  is,  if  you  press 
the  button.  There  isn't  another  one 
in  all  of  pictureland.  Most  studio 
buildings  are  only  a  story  or  two  in 
height.  But  the  new  structure  is  all 
of  four  stories.  It  is  the  place  where 
directors  and  writers  work. 

Langdon's  Rabbit  Foot. 
Harry  Langdon  is  a  lucky  boy 
again.  Not  only  did  he  recently  win 
a  lawsuit  with  a  "love-balm"  angle, 
but  he  is  doing  his  first  feature  pic- 
ture in  several  years.  He  shares 
honors  with  Slim  Summerville,  hit  of 
the  comedy  in  "All  Quiet  on  the 
Western  Front,"  and  it  is  a  good  part 
that  he  enacts.  Langdon  has  been 
working  only  in  short  films  for  many 
months,    and    not    too   often    at   that. 


Hollywood  Higk  Lights 

Disappointing    this,    for    one    of    the 
screen's  best  comedians. 

Universal  is  producing  the  new 
Langdon-Summerville  production.  It 
is  called  "See  America  Thirst." 

Norma,  the  Courageous. 

Norma  Shearer  amazes  us.  We 
see  her  often  at  the  theater,  at  this 
writing.  She  looks  radiant,  and  is 
always  exquisitely  attired,  generally 
in  white.  If  anything,  she  is  more 
beautiful  than  ever,  her  smile  is  more 
charming,  and  there  is  a  new  light 
about  her  face. 

The  arrival  in  the  home  of  the 
Thalbergs  is,  of  course,  expected  not 
later  than  September.  Irving  and 
Norma  are  already  planning  what 
Norma  shall  do  upon  her  return  to 
the  screen. 

Ee-velyn's  Eventful  Arrival. 

Perfectly  timed !  That  was  the 
reaction  of  movieland  to  the  news  of 
Evelyn  Laye's  divorce.  She  had  only- 
just  arrived  in  Hollywood,  when  the 
dispatches  made  known  the  news  of 
her  legal  separation  from  her  hus- 
band. 

And  so  that  her  introduction  to  the 
film  capital  might  be  appropriate  in 
all  respects,  she  was  required,  we 
hear,  to  deny  an  engagement  the  very 
next  day  after  the  announcement  of 
her  divorce.  Nobody  so  attractive 
could  remain  unattached,  it  would 
seem,  for  more  than  a  few  hours,  ac- 
cording to  the  viewpoint  of  the  movie 
reporters. 

Miss  Laye  lived  in  retirement  for 
the  first  week  or  so  after  her  arrival, 
and  finally  made  her  debut  at  a  press 
party,  given  immediately  after  a 
showing  of  Ronald  Colman's  "Raf- 
fles." This  was  her  official  introduc- 
tion to  the  colony.  Meanwhile  she 
had  become  pretty  well  acquainted 
with  it  through  the  many  English 
friends  of  hers  who  dwell  there,  and 
who  feted  her  from  the  first  day. 

Evelyn  Laye's  first  name,  by  the 
way,  is  pronounced  Ee-velyn. 

In  the  Business  World. 

A  tea  room  where  one  is  served  by 
the  stars,  and  a  shop  that  is  operated 
under  their  management,  are  two  new 
acquisitions  of  the  thriving  cinema 
city. 

Both  these  enterprises  are  con- 
ducted for  charitable  purposes.  One 
is  sponsored  by  the  Assistance 
League,  the  other  is  for  the  Motion 
Picture  Relief  Fund. 

At  the  thrift  shop  the  cast-off 
gowns  of  the  stars  are  disposed  of. 
Many  of  these  beautiful  garments  are 
used  only  a  few  times,  either  in  pic- 
tures or  socially.  And  it's  a  place 
therefore  for  very  snappy  bargains, 
all  for  sweet  charitv's  sake. 


The  Odd,  Odd  Colony. 

If  you  don't  think  Hollywood  is  a 
funny  place,  note  that : 

Cliff  Edwards,  seeking  a  divorce, 
asked  for  the  custody  of  his  dog.     . 

An  actress,  recently  divorced,  gave 
a  "bachelor  party"  to  celebrate  her 
freedom. 

A  dog — King  Tut — originally  pur- 
chased for  thirty  cents,  has  made  his 
master  fifty  thousand  dollars. 

Gorilla  impersonators  will  go  on  a 
strike  unless  they  get  higher  wages. 

Mutia  and  Riano,  natives  imported 
from  Africa  for  "Trader  Horn,"  de- 
clare the  movies  are  "cuckoo,"  and 
get  away  with  it  merrily. 

Press  agents  have  sworn  to  tell  the 
real  truth,  the  whole  truth,  and  noth- 
ing but  the  truth,  so  help  'em ! 

An   Industrious   Personage. 

We're  beginning  to  suspect  that  the 
stork  is,  after  all,  not  such  an  un- 
faithful bird  in  his  visitations.  He 
keeps  away  altogether  at  intervals, 
but  when  he  does  return  he  is  a  busy 
flutterer. 

This  is  all  incidental  to  the  news 
that  Olga  Baclanova  and  Nicholas 
Soussanin  are  at  this  writing  expect- 
ing his  arrival,  in  addition  to  Miss 
Shearer,  Miss  Vidor,  and  the  Richard 
Gallaghers. 

Louise  Is  Rogers'  Lead. 
Louise  Dresser,  who  was  among 
the  discouraged,  is  happy  again.  She 
is  playing  opposite  Will  Rogers,  in 
"Lightnin',"  and  it  isn't  a  "weepy 
mother."  such  as  she  detests,  that  she 
is  impersonating.  Louise  was  all  but 
ready  to  leave  Hollywood  and  go  back 
to  the  stage,  but  there  is  a  possibility 
of  her  staying  on  now. 

Another   Veteran  Passes. 

Rudolph  Schildkraut,  the  elderly 
character  actor,  father  of  Joseph 
Schildkraut,  recently  passed  away. 
He  was  best  known  for  his  portrayal 
of  the  High  Priest  Caiaphas,  in  "The 
King  of  Kings,"  and  for  "The  Coun- 
try  Doctor,"  in  which  he  starred. 
One  of  his  earlier  pictures  was  "His 
People." 

The  Schildkrauts,  father  and  son, 
were  very  much  attached  to  each 
other,  and  Rudolph  was  recognized 
as  one  of  the  most  lovable  personali- 
ties throughout  the  colony. 

Another  death  that  struck  dee])  at 
a  devoted  relationship  was  the  pass- 
ing of  Elsie  Janis'  mother.  Miss 
Jam's  was  on  the  stage  from  the  age 
of  four  years  under  the  guidance  of 
her  parent,  and  the  two  had  never 
ceased  to  be  constant  companions. 

Too   Many   Marys. 

Two  Mary  Pickfords  would  be  one 
too    many.      Consequently   the    name 
Continued  on  page  109 


101 


Fortitude 


Being  the  observed  of  all   observ- 
ers is  no  strain  on  stars  when  they 
occupy  boxes  at  the  theater. 


/   -a 


fci 


**•* 


t 


Richard   Keene  and  Charles   I"..    Evans,  below,  view 

the   minstrel   show   in   "Happy   Days"   with   interest, 

more  or  less. 


...  impersonates  "Diamond  Jim"  Brady  sur- 
::ided   by   beauties   in   'The   March   of   Time." 

Ruth  Chatterton  and  Give  Brook,  upper  right,  show  how  t" 
attend  the  play   with  becoming  nonchalance  in  "The   Laugh- 
ing Lady." 

Miriam    Seegar,   below,   illustrates   how   to   fall    in   love   and 
■how  it  in  the  pri\  -tage  box  in  "Fashions  In  Love. 

Lilyan  Tashman  and   I-ouise   Fazenda.   lower  ridit.   view   the 
nnancc  in  "No,  No,  Nanette,''  in  tlieir  respective  ways. 


_^^ 


V 


iK 


102 


Information,  Please 


LJ  M.  B. — You  hope  1  don't  fall  asleep 
*  ■•  over  your  questions — those  questions 
are  enough  to  keep  me  awake  for  days. 
Loretta  Young  played  in  her  first  film  as 
a  child.  She  supported  Mae  Murray  and 
played  Mae  as  a  little  girl — I  don't  know 
the  name  of  the  picture.  At  the  beginning 
of  her  real  career,  however,  she  played  a 
small  role  in  "The  Whip  Woman,"  made 
late  in  1927.  Loretta  is  seventeen ;  she 
eloped  with  Grant  Withers  last  January 
26th.  She  is  with  First  National.  Jack 
Holt  was  born  May  13,  1888,  and  began 
his  film  career  in  1914.  His  wife's  name 
is  Imogene ;  I  don't  know  what  her  last 
name  was.  John  Boles  was  born  October 
27,  1899,  and  made  his  first  film  in  1926. 
Mrs.  Boles  was  Marcelite  Dobbs.  Neil 
Hamilton  was  born  September  9,  1899. 
He  is  married  to  Elsa  Whitmer,  a  non- 
professional. Mary  Astor  is  about  twen- 
ty-four. Her  husband,  Kenneth  Hawks, 
the  director,  was  killed  last  February  in 
an  airplane  accident.  Mary  Brian  is 
twenty-two  and  unmarried.  Her  film  ca- 
reer dates  from  1924.  Dolores  Costello  is 
twenty-five  and  is  Mrs.  John  Barrymore; 
yes,  the  baby  is  a  girl.  Addresses  may  be 
found  in  the  list  at  the  end  of  The  Oracle. 

B.  B.  G. — What  is  my  opinion  of  Greta 
Garbo's  voice?  In  my  opinion,  everything 
about  that  girl  is  perfect !  Her  new  film 
is  "Romance,"  with  a  newcomer  named 
Gavin  Gordon  playing  opposite  her.  I 
think  the  reason  her  teaming  with  John 
Gilbert  was  broken  up  is  that  they  were 
both  too  big  box-office  draws  to  be  cast 
in  one  film.  John  is  learning  to  talk — 
screenically  speaking — and  will  soon  ap- 
pear in  "Way  For  a  Sailor."  Yes,  "The 
Border  Lesion,"  is  now  current,  with  Dick 
Arlen  as  the  hero. 

Bill  Boyd  Forever. — It  certainly  begins 
to  look  that  way;  I  answer  your  ques- 
tions about  him  every  month.  "Wolves 
of  the  Air"  was  released — in  New  York, 
at  least— in  April,  1927;  "Thumbs  Down," 
three  months  later.  Lois  Boyd  was  the 
girl  in  both  pictures,  and  Bill  Boyd  was 
not  in  them  at  all.  Bill  was  once  a  foot- 
ball player,  <:o  I  think  he  is  athletically 
inclined.  I  agree  with  you  that  Fred 
Kohlrr  i-  an  excellent  actor,  but  it's  very 
seldom  that  a  heavy  becomes  popular 
enough  to  be  starred. 

3-S.  M  • — So  Robert  Montgomery  doesn't 
look  like  a  married  man?  Is  a  man  sup- 
posed   to    turn    gray    upon    marriage,    or 


grow  whiskers,  or  what?  Robert  married 
Elizabeth  Allen  in  1928.  If  the  other  fan 
magazines  all  said  he  was  single,  as  you 
state,  that  merely  proves  what  an  accu- 
rate guy  I  am.  In  fact,  one  answer  man 
recently  came  right  out  and  owned  up  that 
he  had  been  mistaken  in  thinking  Robert 
Montgomery  single.  So  there,  you  lose 
your  bet. 

F.  Tully. — Duke  Francis,  in  "When 
Knighthood  Was  in  Flower,"  was  played 
by  our  old   friend,   William  Powell. 

Frances. — I  am  sorry  to  hear  that  Doro- 
thy Seastrom  died  a  fe-.v  months  ago  in 
Dallas.  She  had  dropped  out  of  the 
screen  world  to  such  an  extent  that  I 
missed  all  notices  of  her  death.  Yes,  the 
talkies  have  deprived  us  of  a  lot  of  well- 
liked  players.  I  understand  that  Nils 
Asther  is  vigorously  studying  English,  so 
he'll  be  back  with  us  yet.  Meanwhile, 
he's  been  playing  in  the  German  version 
of  "Anna  Christie."  He  and  Vivian  Dun- 
can are  not  married — unless  they  are  be- 
fore this  gets  into  print. 

An  Ardent  Fax. — You  just  nake  it 
ardor  and  ardor  for  me.  (Ouch,  what  a 
pun!)  Edna  Murphy  is  twenty-four  years 
old  and  weighs  101.  Raquel  Torres  is  now 
playing  in  "The  Sea  Bat."  Lillian  Roth 
is  an  American.  Dixie  Lee  is  almost 
twenty-one ;  her  new  film  is  "Cheer  Up 
and  Smile."  Molly  O'Day  is  not  in  pic- 
tures at  present;  as  to  how  much  she 
weighs,  I  haven't  the  latest  bulletin  of 
what  she  ate  last  week.  Josephine  Dunn 
is  twenty-three  and  weighs  112.  Her 
latest  picture  is  "Safety  in  Numbers." 
Gilda  Gray  weighs  122;  her  only  film 
work  recently  was  in  a  short  for  Para- 
mount. Jeanette  MacDonald  hasn't  re- 
vealed her  age  as  yet.  Her  new  film  is 
"The  Lottery  Bride."  Lenore  Ulric  is 
not  making  any  more  pictures  at  present, 
nor  is  Nancy  Wei  ford.  Carol  Lombard's 
new  film  is  "The  Best  People." 

Dorothy  Fleer. — I  hate  to  shatter  your 
hopes,  but  answers  in  the  next  issue  are 
impossible.  The  next  issue  is  being 
printed  while  you're  reading  the  current 
one.  Irene  Bordoni  was  born  in  Ajaccio, 
Corsica,  and  achieved  fame  as  a  Broad- 
way star  in  New  York  about  a  dozen 
years  ago.  She  is  divorced  from  E.  Ray 
Goetz,  Broadway  producer.  Jack  Buchanan 
is  an  English  revue  favorite  who  came  to 
America  about  five  years  ago  with  "Char- 
lot's    Revue,"    and    became    a    sensation. 


Clive  Brook's  newest  release  is  "Sweet- 
hearts and  Wives,"  opposite  Billie  Dove. 
Clive  was  born  in  London,  June  1,  1891. 
He  was  educated  at  Dulwich  College,  in 
England,  went  to  war,  and  then  went  on 
the  stage.  In  1921  he  began  his  film 
work,  and  came  to  Hollywood  three  years 
later.  In  September,  1920,  he  married 
Mildred  Evelyn,  of  the  English  stage, 
and  they  have  two  children.  Claudette 
Colbert  was  born  in  Paris ;  Gloria,  in 
Chicago ;  Norma  Shearer,  in  M ontreal ; 
Chevalier,  in  Menilmontant,  a  Parisian 
suburb;  Fredric  March,  in  Racine,  Wis- 
consin ;  Evelyn  Brent,  in  Tampa ;  Ron- 
ald Colman,  in  Richmond,  Surrey,  Eng- 
land. 

Dolores  Zaph. — What  does  a  fan  club 
mean?  It  means  a  lot  of  work  for  me, 
although  I  have  nothing  to  do  with  them 
officially.  To  start  one,  get  together  a 
group  of  fans  who  adore  the  same  fa- 
vorite you  do ;  then,  I  take  it,  you  all 
write  one  another  letters  about  him  or 
her.  William  J.  Frank,  2271  West  Phila- 
delphia Avenue,  Detroit,  Michigan,  has 
the  Buddy  Rogers  club  nearest  you.  Bud- 
dy's playing  Abie,  in  "Abie's  Irish  Rose," 
gave  rise  to  the  untruth  that  he  was  Jew- 
ish. Chester  Morris  is  twenty-eight ;  his 
wife's  name  was  Kilborn.  I  haven't  space 
to  list  all  his  pictures;  his  new  ones  are 
"The  Divorcee,"  "The  Big  House,"  "The 
Bat  Whispers."  Dick  Arlen  played  op- 
posite Clara  in  "Dangerous  Curves."  I  do 
not  give  home  addresses. 

Ruth. — Am  I  prepared  for  an  ava- 
lanche of  questions?  Always!  I  know 
just  how  the  postman  feels  in  the  Christ- 
mas rush.  Ben  Lyon  has  just  signed  a 
contract  with  Warner ;  Lois  Wilson  is 
with  First  National.  Belle  Bennett  is 
also  with  Warner.  Hope  Hampton  has 
been  touring  Europe  all  summer.  Eli- 
nor  Fair,  Charles  Ray,  and  Sidney  Chap- 
lin are  no  longer  in  pictures.  Ben  Bard 
is  not  very  busy ;  he  played  recently  in 
"Born  Reckless."  Sally  Blane  is  with 
Universal.  Louise  Fazenda,  busy  as  ever, 
has  played  recently  in  "High  Society 
Blues,"  "Bride  of  the  Regiment,"  "Spring 
Is  Here,"  "Rain  or  Shine." 

Mildred  Kelly. — Yours  was  a  very  gra- 
cious letter.  See  Dolores  Zaph,  two  let- 
ters above.  To  join  the  Gaynor-Farrell 
club,  write  to  Caroline  S.  Krohn,  2005 
Grand  Avenue.  New  York  City.  Yes, 
Janet  uses  her  real  name. 

Continued   on   page   119 


in;; 


Hard  Hit 


Ten  to  one  they'll  recover — if  they're  heroes 
in   the   film. 


Conrad  X'agel,  above,  as  Char- 
lit  St.;-h\  in  "The  Right  of 
Way,"  though  thrown  into 
the  river  by  a  gang  of  ruf- 
fians, shows  signs  of  in-.; 
ment  when  Loretta  Young 
and  George  Pearcc-  visit  him. 
And  it's  safe  to  say  he  will 
r  in  time  to  hurry  to 
another  studio  to  do  a  picture. 

Phillips   Holmes,  below,   after 

a    fight    in    "Grumpy."    finds 

solace  in  Frances  Dade. 


Ralph    Graves,    above,    injured    in    an    airplane    accident    in 

"Flight,"    responds    to    the    sentimental    stimulus    of    Lila 

Lee's  nursing  sufficiently  to  marry  her  in  the  end. 


No  such  happy  fate  is  in 
store  for  Lewis  Ayres,  cen- 
ter, in  "All  Quiet  on  the 
Western  Front,"  though  he- 
derives  artistic  relief  from  th( 
ministrations  of  Bertha 
Mann,   an  excellent   actress. 


Gary  Cooper,  below,   in   "A 
Man    from     Wyoming,"     is 

suspicious    of    Alice     Rand's 

touch,    though    it    is    strictly 

that    of    a    professional    war 

nurse. 


104 

Continued  from  page  94 

ling!"  and  hurried  on.  Jane  stared 
in  amazement.  He  and  Polly  had 
[ought  only  recently — and  he  called 
her  "darling"!  Well,  probably  Larry 
had  used  it  just  as  meaninglessly. 
And  he'd  been  mixed  up  with  that 
Paula  woman  hefore  he  left!  Her 
heart  sank. 

Sadly  she  followed  Polly  about, 
from  set  to  set,  listening  to  explana- 
tions. Her  thoughts  were  far  across 
tlu'  seas. 

Bowen  suddenly  appeared,  an- 
nouncing that  the  Old  Man  wanted  to 
see  her.  Prepared  to  face  a  dodder- 
ing grayheard,  Jane  was  startled 
when  a  rather  nice-looking,  perfectly 
groomed  man  of  well  under  fifty  rose 
behind  his  desk  to  welcome  her. 

"So  sorry  not  to  see  you  yester- 
day." he  said.  "I  was  called  to  San 
Francisco — flew  back  this  morning. 
You  must  excuse  my  not  speaking 
Spanish — I  know  only  a  few  words 
of " 

"We  must  have  you  practeese  wiz 
me,"  said  Jane,  with  her  best  smile. 
"I  am  zo  happy  zat  I  am  to  work  in 
zeese  place,  with  zeese  charmeeng 
peoples." 

Would  he  say  that  she  wasn't  to 
work  here,  after  all  ?  But  he  beamed 
on  her  as  he  replied. 

"We'll  make  some  tests  of  you  this 
afternoon,"  he  promised.  "And 
you'll  be  at  work  soon.  You  see, 
you're  not  known  by  movie  fans,  so 
we've  persuaded  a   famous   actor,  a 


Babes  in  Hollywood 

female  impersonator,  to  appear  in  this 
production  with  you.  Just  audience 
value — but  you  probably  don't  know 
what  that  means,"  with  a  fatherly 
smile.  "And  to-morrow  evening  I'm 
giving  a  dinner  for  you;  the  Spanish 
consul  will  be  present — be  sure  to 
look  your  prettiest." 

Jane  never  knew  quite  how  she  got 
out  of  that  office.  The  Spanish  con- 
sul !  Could  she  pretend  to  have  a 
cold,  to  have  lost  her  voice?  Could 
she  be  too  ill  to  go?  Her  Spanish 
would  never  stand  the  strain ! 

Bowen,  who  was  waiting  for  her, 
announced  that  the  man  who  was  to 
have  made  the  tests  was  in  conference. 
Later  Jane  learned  that  he  was  one 
of  the  tennis  moguls,  and  had  an  im- 
portant match  scheduled  for  that 
afternoon.  She  went  home,  trying  to 
be  cheerful,  but  wishing  for  Polly's 
comforting  presence.  If  things  were 
so  difficult  for  her,  when  she  had 
really  been  sent  for,  how  on  earth  did 
girls  ever  get  along  if  they  just 
tackled  this  place  cold? 

Mrs.  Markham  met  her  at  the  door, 
waving  a  cablegram. 

"I  opened  this,  in  case  it  was  some- 
thing important,"  she  announced. 

Jane  glared,  and  retired  to  her  own 
room  before  reading  it. 

"Arriving  Hollywood  the  fifth,"  it 
read.     "Love.     Larry." 

Her  heart  leaped.  "Love."  Oh, 
surely,  this  wasn't  like  that  hateful 
"darling"  that  enemies  used  to  each 


other !  Surely  he  meant  something 
by  it !  What  if  he  had  walked  out  on 
Paula  Wilding?  What  if  Polly  had 
looked  queer  when  she  talked  about 
him?  He'd  be  here  soon,  they'd  dis- 
cuss everything  together,  and  per- 
haps  

Mrs.  Markham  sighed  and  cleared 
her  throat. 

"Make  your  tests  to-day?"  she 
asked.  "Well,  I  thought  you  wouldn't 
Listen,  dearie,  if  you  don't  look  out 
they'll  give  you  a  runaround,  like 
they've  given  so  many  others.  And 
if  it's  that  Larry  Bishop  who's  ca- 
bling you,  all  I've  got  to  say  is,  I 
knew  his  first  wife.  And  if  I  was 
you,  I'd  lay  off  where  he's  con- 
cerned ! 

"You  may  go !"  exclaimed  Jane 
furiously.  "You  pack  your  things 
and  get  out  of  here !  I  won't  have 
you  around  me !" 

Mrs.  Markham  shook  her  head 
dolorously. 

"I'll  go,  but  don't  forget  I  got  a 
contract !"  she  announced,  ominously. 
"And  it  seems  to  me  that  f'r  a  Span- 
iard you've  learned  plenty  of  English 
in  a  mighty  short  time!" 

Jane  stared  after  her  retreating 
back.  Had  she  made  an  enemy,  a 
dangerous  one?  Probably!  Oh,  but 
that  didn't  matter !  Larry  was  com- 
ing home ;  he'd  take  care  of  every- 
thing for  her !     Surely  he  would ! 

TO  BE  CONTINUED. 


Continued  from  page  96 
witty  retort.  And  this  is  the  essence 
of  "Love  Among  the  Millionaires,''  a 
threadbare  yarn  which  presents  Miss 
Bow  as  a  star.  It  also  puts  her  forth 
as  a  songstress,  perhaps  as  ill  ad- 
vised a  step  as  was  ever  taken  to 
show  the  limitations  of  a  star.  For 
Miss  Bow  and  music  are  utter 
strangers.  Unfortunately,  the  story 
which  makes  her  a  prima  donna  has 
not  the  least  element  of  strangeness. 
It  is  about  the  girl  of  lowly  antece- 
dents who,  in  love  with  the  million- 
aire's son,  disillusions  him  in  a  tipsy 
scene  just  to  show  how  great  her 
love  is.  At  which  his  hostile  father 
then  knows  that  she  is  a  pearl  of 
great  price  and  worthy  of  his  hon- 
oi  ed  name. 

This  romanza  begins  in  a  hash 
house  near  the  railroad  tracks,  where 
Pepper  reigns  as  queen  and  where 
comes  a  young  man  wearing  overalls 
and  a  musical-comedy  manner.  He's 
the  son  of  the  railroad  president 
"studying"  the  business,  but  Pepper 
is   unsuspecting.      There's   really   no 


The  Screen  in  ReViev? 

need  to  go  on  except  to  say  that 
Stuart  Erwin,  Richard  Gallagher,  and 
Mitzi  Green  lend  first  aid  for  all 
they're  worth,  but  even  they  cannot 
rescue  the  picture  from  banality. 

The  Law  Takes  Its  Toll. 

Count  that  month  lost  that  doesn't 
roll  up  a  fine  performance  by  William 
Powell.  Sometimes  his  pictures  vary 
in  interest,  naturally,  but  never  does 
Mr.  Powell's  skill  veer  from  per- 
fection. In  fact  his  acting  improves. 
And  in  "For  the  Defense"  he  is  at  his 
brilliant  best.  Interesting  though  the 
picture  is,  I  found  it  not  quite  as 
good  melodrama  as  "Shadow  of  the 
Law"  or  "Streets  of  Chance,"  though 
it  yields  moments  of  inspired  story- 
telling. It  has  for  its  chief  character 
a  criminal  lawyer  wmose  success  in 
trickily  defending  crooks  builds  up  a 
reputation  for  him  that  suddenly 
crumbles  when  he  bribes  a  juror  to 
save  his  rival  from  conviction. 

William      Poster,      the      character 


played  by  Mr.  Powell,  is  in  love  with 
Kay  Francis,  who  has  secretly  agreed 
to  marry  his  rival.  When  the  latter's 
car  runs  down  a  man  and  kills  him, 
Miss  Francis  begs  her  lawyer  friend 
to  defend  him.  With  everything 
pointing  to  a  sentence  for  manslaugh- 
ter, Foster  chooses  his  own  means  to 
save  the  man  he  hates  for  the  woman 
he  loves,  and  loses  out.  However,  as 
he  faces  five  years'  confinement,  Miss 
Francis  promises  to  wait  for  him  ;  but 
she  is  not  sufficiently  skilled  to  make 
the  spectator  believe  that  she  will  be 
faithful.  So  Foster  gets  a  rather  bad 
break. 

The  .virtue  of  the  picture  lies  in  the 
way  character  is  established  at  the 
outset  by  means  of  expert  direction, 
lifelike  dialogue,  and  good  acting.  It 
isn't  a  sympathetic  story,  nor  is  any 
character  one  whose  fate  really  mat- 
ters. It  is  more  a  cleverly  constructed 
melodrama  which  enables  Mr.  Powell 
to  underscore  his  reputation  as  a  star 
among  stars. 


105 


What   the   Fans   Think 

v  intiuued  from  page   1- 

his  r  1  had  missed  prac- 

tically nothing 

d  Checkov's  "Uncle  \  anya." 
I   hope   Jin   Tolly,   of    the    Eiolh 

Tullv >,  will  take  -ck  .ii    Baddy 

r  me.     Buddj   ;-  .i  pel  aversion. 

d  authority  that  while 

<.•  he   w.i>   requested   by  his 

5ays  Bud, 

"Really,    I   couldn't;   my   public   wouldn't 

understand.     They   know   I   don't   sn 

.    they    «  disillusioned." 

Ii  Buddy  could 

I  and  his  public  once  in 

lie  and   break   training,   he   might    in 

learn    to    chance    from    those    plaited 

and   in   time   develop   into    rather 

nality.     Hut  I 

•    doubt  if   such  a  transformation   will 

ever  take  place. 

In  answer  to  the  wail  of  Lea  McAlister, 
let  me  call  her  attention  to  the   following 

s    Fairbanks    was    a 
player  before  coming  to  pic: 
Mary    Pickford.   John    and    Lionel    Barry- 
Murray.    William    S.     Hart. 
Chaney,    Buster 
m,  Charles  Chaplin,  and  many  more 
of  the  older  favorites.     Thi  is  al- 

■  been  used  as  a  recruiting  ground  for 
n   talent.      It's    nothing   new.    so   why 
the  hue  and  cry  at  this  late  da- 
Give  these  silly  schoolgirls  an  arresting 
thought-provoking  entertainment  and  they 
don't    know    what    it's    all    about.      Show 
them  a  profile,  a  tooth-paste  smile,  and  a 
mop  of  glossy  hair,  and  they  start  flood- 
ing the  mails  with  fan  letters  and  reque-t- 
And    now    will    some    one 
kindly    send  a   picture   of    Barry    Norton, 
whoever  he  is.  engraved  in  tutti-frutti  ice 
cream  to  Crocella  Mullen,  so  she  can  die 
happy?  Frank    Tilly. 

20  Yew  Street.  Danbury,  Connecticut. 

Prove  Your  Case,  Lea. 
I   agree   with    Dale   Atholstan   when   he 
states    that    people    like    Ruth    Chatterton 
make  us  feel  that  we  are  being  educated, 
nt  the  statement  "Compare  them 
pitiful    efforts    of    our    old-time 
silent  fa- 
I  am  a   fan  of  the  speaking  stage,  but 
there  is  no  finer  actor  in  the  world 
to-day  than  Richard  Dix. 

[so   I    resent   the   question    which    Lea 
Drake  IfcAHster  asks   when  she  includes 
•.andcr    Gray,    Kay    Johnson,    Dennis 
King.  Joe  E.  Brown,  and  Lenore  L'lric  in 
her    tirade    against    stage    people    ri 
why  we  have  them.     To  me  thev  are  per- 
fect. 
This    person    shows    her    icnorancc    of 
gs  theatrical  when  she  states  they  are 
from  ?tock  companies  and  vaudeville,  and 
vers  who  is  interested  in  them, 
never   read   the   theatrical   paper 
magazir.  s?      Does    <h<     not    know    I 

le    have    won    their    spur*,    and    that 
millions   of   people  are  interested   in 

them    and    hearing    them?      She    ad- 

what 
does   she  base   her   remark 

J.   Utiif. 
Hollywood,  California. 

What's  All  the  Raving  for? 
Why    do    all    American     fans    rav 
it    Greta  Garbo   and    Joan    Crawford? 

■    nice   to 
at,  and  lei  ,  hat  beautiful  pirl- 

Joan  Cra  and 

Continued  on  page  109 


w  Sanitary  Protection  m 

■  must  be  inconspicuous 

that's  why  most  women  prefer  Kotex 


Kotex  now  has  rounded, 
tapered  corners  which 
eliminate  awkward  bulges 
and  assure  a  snug,  firm  fit. 

THERC  arc  times  when  you  hesi- 
tate to  enjoy  sports  to  the  fullest  .  . . 
unless  you  know  about  Kotex. 

Kotex  is  the  sanitary  pad  that  is 
designed  for  inconspicuous  protection. 
The  corners  are  rounded  and  tapered. 
Sides,  too,  arc  rounded.  It  gives  you 
complete  security  and  ease  of  mind. 

Wear  Kotex  without  a  worry,  then, 
under  any  frock  you  posses.  Weir  it 
for  sports  or  with  filmiest  evening 
things — and  retain  the  cool  poise  so 
essential  to  charm. 

Light,  cool,  comfortable 
There's  another  way  in  which  this  can. 
ful    shaping   brings    wonderful    relict. 
There's  no  unneeded  bulk  to  pack  and 
chafe.     No   awkward   bulges  to  grow 
terribly  uncomfortable. 

Kotex  is  always  li£ht,  always  cool, 
always  comfortable.  This  is  largely  due 
to  its  remarkable  filler- — Cellucotton 
(not  cotton)  absorbent  wadding.  I 
lucotton  is  five  times  more  absorbent 
than  cotton.  This  means  your  K 
pad  can  be  fue  times  lighter  than  any 


cotton  pad,   with  the  same  absorbency 
and  protection. 

America's  leading  hospitals — 85$  of 
them — choose  this  same  absorbent  for 
important  surgical  work. 

Kotex  deodorizes  .  .  .  keeps  you  dainty 
and  immaculate  at  times  when  that  is 
particularly  essential.  It  is  so  easily  dis- 
posed of. 

You  owe  it  to  your  comfort  and  good 
health  to  use  this  modern,  safe,  sanitary 
protection.      Kotex    is    available    every- 
where.   Kotex  Company,  Chicago,  III 
%■—•< 


IN  HOSPITALS 

85<  of  our  leading  hospital*  use  the  very 
same  absorbent  of  which  Kotex  ii  made. 

2  Kotex  ii  soft  .  .  .  not  a  deceptive  soft- 
ness that  soon  picks  into  chafing  hard- 
ness. But  a  delicate,  fleecy  softness  that 
lasts  for  bo 

3  Safe,  secure  .  .  .  keeps  your  mind  at 
ease 

{  Deodorizes  .  .  .  safely,  thoroughly,  by 
a  special  process. 

5     Disposable,  instantly,  completely. 

Regular  Kotex—  15c  for  12 
Kotex  Super-Size— 65c  for  12 

Also  regular  size  singly  in  vending  cabinets 
through  West  Disinfecting  Co. 

k 

Ask  M  sec  the-  KOTEX  HI  IT  and  I 
KOI  I  X  S  \M  1'ARY  APRON  at  any  I 
drug,  dry  goods  or  department  store.  I 

KOT6X 

the  New  Sanitary  Pad  which  deodorizes 


100 

Continued  from  page  34 
out  of  her  own  grounds.  She  is 
learning  to  play  tennis.  She  swims. 
She  walks,  accompanied  by  the  bri- 
gade of  Scott ies.  through  the  rural 
fields  adjacent.  She  lies  in  the  cool 
patio  and  reads.     She  writes. 

Because  Billie  is  so  sheepish  about 
her  verse,  it  must  be  mentioned  only 
briefly.  It  is,  she  says,  a  purely  per- 
sonal thing,  a  safety  valve  for  ran- 
dom thoughts.  Few  people  know  of 
its  existence.  Which  is  a  pity,  be- 
cause it  is  good  poetry.  It  has  no 
amateur  ring  of  sentimentality  otr 
sugar.  It  is.  rather,  warm  but  sophis- 
ticated in  feeling  and  deft  in  meter. 

She  paints,  less  expertly  than  she 
writes,  but  still  with  none  of  the  efful- 
gence of  the  novice.  In  oils,  water 
colors,  and  crayons  she  understands 


Billie— As  She  Is 

her  medium.  She  would  rather  paint 
dogs  than  anything.  One  of  her  best 
pictures  is  a  pastel  of  a  wire-haired 
terrier  that  is  really  excellent. 

She  has  a  passion  for  first  editions, 
having  nearly  completed  a  set  of 
Hergesheimer.  She  is  avid  for  a 
first  of  "Sister  Carrie,"  to  com- 
plete her  collection  of  Dreiser,  who 
is  first  among  her  favorite  authors. 
Her  taste  in  literature  is  instinc- 
tively good.  She  shies  away 
from  vulgarity  and  poor  crafts- 
manship. She  leans  slightly  toward 
the  realistic  in  prose. 

She  seldom  goes  to  restaurants, 
having  a  complex  about  public  places. 

Her  dark  hair,  cut  short  now  and 
brushed  in  a  soft  wave  behind  her 
ea.rs,  is  threaded  with  premature  gray. 


Even  when  she  is  not  working  she 
rises  early,  liking  the  morning  and  re- 
luctant to  miss  any  of  it. 

She  doesn't  like  to  talk  movies  and 
can't  be  inveigled  into  making  con- 
versation about  her  own. 

She  is  singularly  lacking  in  con- 
ceit, but  will  listen  sympathetically  to 
other  people's  exposition  of  ego. 
This  is  partly  because  she  shrinks 
from  hurting  any  one's  feelings,  and 
partly  because  she  thinks  that  almost 
any  one  is  really  smarter  than  she  is. 

Good  breeding  is  very  evident  in 
her  manners,  her  dignity  and  her  con- 
genital delicacy.  A  gentlewoman 
born,  one  would  say,  out  of  her 
time.  But  a  welcome  decoration  in 
a  day  of  flappers  forever  in  a  hurry. 


Continued  from  page  74 
incidentally,    are    so    luxuriant    that 
fans  write  to  ask  if  they  are   false. 

"Not  long  ago,"  she  continued,  "a 
stranger  back  East  wrote  that  he  was 
coming  out  here  to  marry  me.  Imag- 
ine !  I'm  telling  you,  I  get  some  of 
the  strangest  letters  from  fans,  par- 
ticularly men.  But  then  men  are 
strange,  aren't  they? 

"A  few  weeks  ago  I  had  an  un- 
usual experience.  A  friend  intro- 
duced me  to  a  nice-looking  man  who 
seemed  to  have  about  all  the  money 
there  is.  He  was  very  pleasant  and 
when  we  had  become  fairly  well  ac- 
quainted, he  asked  to  take  me  out 
one  evening.  I  accepted  and  we  had 
a  good  time  dining  and  dancing  and 
meeting  people  that  we  both  knew. 

"It  was  rather  late  when  we  started 
home,  and  as  we  were  driving  along 
he  suddenly  turned  the  car  and  began 


Minnehaha  Diminuendo 

driving  in  the  wrong  direction.  I 
asked  him  where  we  were  going,  but 
he  didn't  say  anything — just  smiled 
and  kept  on  driving.  When  we  got  out 
near  Inglewood  he  stopped  the  car." 

"Sure.  He  was  out  of  gas,"  I  in- 
terrupted. 

"No,  he  didn't  pull  that  old  line. 
He  just  stopped  and  sat  and  looked 
at  me  with  that  amused  smile.  I'm 
telling  you,  I  began  to  get  nervous. 
Finally  I  asked  him  if  he  was  taking 
a  rest  cure.  He  still  didn't  say  any- 
thing. After  ten  minutes  of  nibbling 
at  my  finger  nails,  my  nervousness 
turned  to  anger.  It  was  a  cold  night 
and  late.  What  did  he  think  I  was 
— an  owl?  I  told  him  that  if  he 
didn't  take  me  home  I  would  smash 
the  speedometer  with  the  sharp  heel 
of  my  shoe.  He  didn't  think  I  would, 
and  dared  me  to.     So  I  went  ahead 


and  smashed  it.  But  even  then  he 
wouldn't  take  me  home,  but  just 
smiled  more  and  more.  So  then  I 
poked  my  heel  through  the  clock  in 
the  car,  and  he  began  laughing  his 
head  off. 

"I  told  him  my  mother  would  be 
anxious  about  me,  but  he  just 
wouldn't  be  serious.  Finally  I  said, 
'If  you  don't  start  the  car  I  will 
smash  the  windshield.'  But  he 
wouldn't  go,  so  I  put  both  feet  to- 
gether and  pressed  with  all  my  might 
against  the  glass.  It  gave  way  with 
a  crash  and  my  giggling  escort 
thought  it  was  the  funniest  thing  he 
had  ever  seen.  Later,  I  found  out 
that  he  just  wanted  to  see  what  I 
would  do  in  such  a  situation.  Well, 
he  saw !" 

You'll  have  to  admit  that  diminu- 
tive Dorothy  is  some  papoose. 


Metro-Goldwyn  wants  to  remake 
"Blood  and  Sand,"  with  Ramon  No- 
varro  in  the  lead.  The  Gene  Charteris 
wing  of  fans  will  write  in  that  it's 
Ramon's  press  agent  who  throws  the 
bull. 

The  East  will  never  steal  Holly- 
wood's place  as  center  of  the  movie 
racket,  on  account  of  the  extras.  The 
winters  are  too  rough  for  park-bench 
sleeping  in  Xew  York. 

One  report  has  it  that  Mary  Miles 
M inter  has  reduced  thirty-five  pounds 
for  a  film  comeback,  and  another  says 
twenty-five.  Somebody's  been  trust- 
ing those  penny  scales. 

"Ben-Hur"  has  been  banned  in 
China  on  the  ground  thai  the  film  is 


Long  Shots 

"propaganda  of  superstitious  beliefs, 
namely,  Christianity."  All  good  No- 
varro  fans  should  stop  reading  those 
jingles  on  Chinese  laundry  tickets. 

Warners  gave  a  movie  party  for 
the  nuns  of  New  York,  and  after 
seeing  her  first  movie,  a  speaker 
urged  that  all  present  pray  for  the 
producers.  And  the  fans  get  peeved 
at  weary  reviewers. 

Lon  Chancy  burst  a  blood  vessel 
while  imitating  a  parrot  in  "The  Un- 
holy Three."  Better  send  for  his 
autograph  right  now.  He  may  be 
cast  as  an  ostrich  next. 

Will  Rogers  went  around  for  a  few 
davs  with   his  head   down   in   shame. 


He  couldn't  look  his  wife  in  the  eye. 
Finally  it  came  out,  as  all  secrets  will. 
In  a  scene  for  "So  This  Is  London," 
Will  had  to  wear  a  pair  of  yellow 
spats. 

"Art  is  hell,"  whined  Will,  doing 
a  Stan  Laurel  on  his  wife's  shoulder. 

When  Helen  Morgan  buys  a  new 
dress  she  has  to  ask  herself,  "Does  it 
look  well  on  a  piano?"  Now,  Philo, 
old  deah.  either  of  you  screen  Philos, 
please  find  out  what  piece  of  Grand 
Rapids  furniture  harmonizes  with 
those  shoulder-waisted,  plaited  trous- 
ers sported  by  the  Hollywood  boys. 

Warners  couldn't  find  a  horse  big 
enough  to  use  for  publicity  photos  of 
Arthur  Caesar  playing  polo.  Let  him 
shift  engines  in  a  railway  yard. 


107 


The   Mystery   of  Your   Name 
i.    Dtinued  from  pagi 

the  rot  of  eternity.  The  generous- 
minded  can  never  grow  mean  again, 
nor  can  the  lover  who  is  gentle  and 

ent   ever   return,   no   matter   what 
later   experiences   may    force   him   to 
endure,    to    the    ancient    rudeness 
n 

The  spirit  of  life  is  one.  hut  the 
expression  of  it  is  everlastingly  dual 
in  the  world  that  our  human  person- 
alities know.  Even  within  the  in- 
finitely tiny  elements  oi  matter  the 
same  principle  oi  attraction  and  re- 
pulsion holds.  Are  we  superior  to 
the  law  that  holds  every  cell  of  our 
body    in    its    proper    place?      Do    we 

live  and  breathe  attraction  of  one 
kind  or  another  daily,  like  living  mag- 

This  rate  oi  vibration  must  have  its 
peaks  and  its  valleys,  quite  unknown 
to  us.  and  yet  we  laid  it  out  from  the 
beginning  of  this  particular  mortal 
life  when  we  attracted  to  ourselves 
the  letters  that  form  our  name. 

By  seeking  out  the  secrets  oi  this 
name  we  can  learn  something  of  our 
own  rate  of  vibration,  year  by  year, 
and  the  more  we  know  ourselves,  the 
more  happily  and  successfully  we  can 
deal  with  the  inevitable  mvsterv  of 
love. 

J.  B.  T..  July  24.  1902.— You  have  very 
spiritual  qualities  at  birth,  and  they  are 
going  to  become  much  more  apparent  from 
now  on.  Your  intuition  will  be  your  great 
source  of  succe-s  emotionally  and  ma- 
terially for  the  next  twenty  years.  Never 
fail  to  heed  it,  even  if  at  times  to  do  so 
seems  absurd.  It  will  save  you  most  of  all 
from  the  one  great  stumblingblock  of  your 
life,  your  intense  attraction  to  girls.  You 
have  been  tied  up  with  love  affairs  ever 
since  you  were  seventeen,  and  you  would 
gladly  have  married  at  about  twenty-two 
or  three,  if  you  had  been  able  to  support 
a  wife.  If  you  did  not  have  to  earn  your 
living  you  probably  did  marry  then.  In 
any  case  you  have   certainly   done   so   by 

time,    and    you   had    about    thr< 
choose  from.    What  a  man !    I  am  glad  to 

•hat  you  are  going  to  control  your 
feelings  a  thousand  times  better  from  now 
on,  and  will  be  very,  very'  successful  in 
business,  with  real  independence  by  the 
age  of  forty-two  and  a  large  incrca-e  in 

finances,  by  inheritance  or  other 
at  about  forty-five.    You  will  never  ! 
cent,  unless  you  let  a  woman  take  it  away 
from  Your  family  must  have  made 

"plctc  change  in  some  way  whe: 
were    less    than    four,    and    at    about    thir- 
teen in  danger,  because 

flames.      You    had    very    little 
morv  :r   own    until    that   age,    and 

are  way 

-    in  a   material   way.     By   6 
fifty  you  will  be  really  wealthy. 

y  up 
1    age.      You    are    not    by    nature    a 
businessman,  but  you  could   make  a 

nc   kind  Some 

an  very  i '  ust  have 

when  you  were  twenty-three. 

W.    E     I.    L.    (  19,    1904.- 

have    great    force    and    independence,    and 
■:iu:cd  on  pace  111 


*E 


veryone 


i 


eauty 


wno  understands 
care  takes  J\JL 


as  a  matter 


of 


enex 


iL 


fAU,CpyiA  A  C 


course  .  . 


Ocreen  stars 
Jvleenex    inci 


r 

—  wise  in  U  tne  ways  oi  beauty < — lind 
nspensanle    lor    removing    colcl    cream. 


incuspensa 


or    removing    cold    cream 


WHY  is  Kleenex  in  the  dressing 
room  of  almost  every  star  in 
Hollywood? 

Because,  as  Virginia  Valli  says,  "It's 
the  modern,  sanitary  way  to  remove 
cold  cream  and  make-up." 

Kleenex  is  the  modern  way.  How 
much  daintier  to  use  an  immaculate  tis- 


USE  Kleenex  for  handkerchiefs — //  avoids 
reinfection  wot  >.  I  old  .  .  .  is 

soft,  Joint)  . . .  and  tdvei  Ian: 


sue  than  a  germ-filled  cold  cream  cloth  .  . . 
or  a  harsh  and  unabsorbent  towel ! 

With  Kleenex  there's  no  rubbing  or 
stretching  the  skin.  You  just  blot.  Along 
with  the  cream  come  embedded  dirt  and 
cosmetics — which  harsh  cloths  often  rub 
right  back  into  the  pores. 

Kleenex    is    simply    discarded    after 
using.    If  you  don't  know  Kleenex,  st.irt 
today  to  give  your  skin  the  care  it   de 
serves.    Buy  Kleenex  at  drug,  dry  goods 
and  department  stores. 

•> liy  J\.le<-uc\  Free * 

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Lake-Midi  i  111. 

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Driven  to  an  Actor's  Life 


Continued  from  page  59 


^ 


k**c* 


"You  lost  your  money  in  Wall 
Street  six  years  ago.  You  took  a 
gamble  and  lost."  I  was  losing 
breath.  This  idea  had  to  be  got  out. 
"Entering  pictures — acting.  All  this 
sort  of  thing  has  been  a  gamble.  Isn't 
everything — Pidgie — listen  to  this 
closely — isn't  everything  in  life  a 
gamble ':" 

Walter  gave  me  a  penetrating 
glance,  and  lifted  a  slice  of  fruit  out 
of  my  salad.  "So  that's  what  you 
want  me  to  talk  about!"  he  said  in  a 
shattering  tone,  and  refused  to  an- 
swer my  question. 

'We  dropped  interviewing  as  a 
hopeless  job.  The  talk  rambled  on 
to  Europe.  Mr.  Pidgeon,  it  seems,  is 
crazy  about  the  Continent.  Espe- 
cially Vienna.  He  stayed  there  sev- 
eral months. 

There  was  a  reason — a  romantic 
one,  believe  it  or  not. 

"I  was  seated  under  an  awning 
outside  a  shop  in  the  Graben,"  Walter 
related,  unconscious  of  my  lurking 
suspicions.  "A  beautiful  girl  came 
along.  With  her  was  a  little  boy  of 
about  four.  The  girl  was  selling 
flowers.  But  you  could  tell  she  was 
not  used  to  that  sort  of  life.  She 
was  refined,  aristocratic  looking. 
And  so  beautiful " 

The  romance-seeking  scribe  became 
intent.  Mr.  Pidgeon,  leaning  on  the 
table,  recalled  fond  memories  of  his 
Viennese  interlude.  The  California 
winter  rain  came  down  in  torrents 
as  if  all  the  gods  of  Olympus  were 
crying  for  the  loss  of  real  romance. 

The  handsome  young  American  of- 


fered the  boy  some  money.  The  girl 
refused  to  allow  him  to  take  so  much, 
unless  the  giver  would  accept  some 
flowers.  This  argument  led  to  a 
pleasant  conversation. 

Her  husband  had  been  killed  in  the 
World  War.  She,  her  mother,  and 
a  young  sister  were  living  in  a  loft 
over  a  stable  in  the  city. 

During  the  rest  of  Herr  Pidgeon's 
stay  in  the  Austrian  capital,  all  his 
time  was  spent  with  this  family. 
Even  when  he  returned  to  New  York 
and  lost  his  money,  he  sent  ten  dol- 
lars a  week  to  them.  After  two  years 
the  old  grSfin  wrote  to  say  that  they 
had  finally  retrieved  some  of  their 
lands — that  the  youngest  girl  was 
earning  money  with  her  dancing  and 
they  could  get  along  nicely  without 
Walter's  donation. 

Thus  the  beginning  and  the  end  of 
his  Viennese  episode. 

I  might  have  persuaded  him  to  con- 
fide more,  but  just  then  the  call  came 
for  all  players  to  return  to  the  "Toast 
of  the  Legion"  set.  Mr.  Pidgeon  got 
into  his  overcoat  and,  leaving  instruc- 
tions with  the  slow-eating  interviewer 
to  follow  -when  he  was  ready,  encoun- 
tered the  extra  girl — one  of  the 
chorus  dancers  in  the  operetta. 

I  wonder  now,  as  I  wondered  then, 
is  Walter  Pidgeon  in  the  movies  for 
the  money  only  ?  Does  he  give  a  snap 
of  the  fingers  for  romance  and  love? 
In  turn,  I  ask  you.  Your  guess  is  as 
good  as  mine. 

In  the  meantime,  Mr.  Pidgeon,  un- 
til he  reads  this,  believes  he  put  one 
over  on  his  pal,  the  interviewer! 


I  Stop  to  Look   Back 

Continued  from  page  72 


After  three  weeks  on  interiors  at 
the  studio  we  left  for  the  desert  to  do 
the  fort  sequence.  And  now  comes  a 
period  of  rich  recollection,  but  it  will 
have  to  wait. 

When  Mr.  Griffith  ceased  produc- 
tion, and  he  and  I  went  to  Para- 
mount, it  terminated  the  best  and 
most  pleasant  period  of  my  profes- 
sional life,  as  it  marked  the  end  of 
an  active  association  with  a  man  to 
whom  I  owe  all  the  good  things  I 
now  have,  not  to  mention  the  mar- 
velous training  I  received  under  his 
tutelage.  It  also  marked  the  end  of 
another  delightful  association  with 
Carol  Dempster,  certainly  one  of  the 
most  beautiful  and  charming  actresses 
ever  to  grace  the  screen,  a  girl  of 
sensitive  beauty  and  intelligence.  I 
think  it  a  great  pity  that  she  has  not 


gone  on  and  on,  but  for  her  own  rea- 
sons she  has  chosen  matrimony  as  a 
career. 

I  was  heartbroken  to  find  that  in 
Mr.  Griffith's  first  Paramount  pic- 
ture, "The  Sorrows  of  Satan,"  there 
was  no  role  for  me.  I  could  fill 
many  issues  of  Picture  Play  telling 
you  of  the  wonderful  things  he  did 
for  me  while  I  was  with  him,  and 
his  unfailing  consideration. 

I  know  of  no  more  sincere  tribute 
then  to  say  than  that  he  is  the  most 
interesting  and  dominant  figure  I 
have  met  in  all  my  life,  and  my  asso- 
ciation with  him  made  a  lasting  im- 
pression on  me.  Not  only  is  he  the 
greatest  figure  in  motion  pictures,  but 
he  is  also  the  greatest  personality  I 
have  ever  had  the  honor  of  knowing. 

TO    BE    CONTINUED. 


!09 


Hollywood   High  Lights 

rinued  frana  page  1ik> 


I  harlotte   Pickford,   niece 
of  the  famous  star,  is  to  be  changed 
to  Gwynne  Pickford.     You  may  re- 
member that  this  girl,  now  fourteen 
.  and  daughter  of  Lottie 
Pickford,    was    adopted    by    Mary's 
mother  some  years  ago.    In  that  way 
tcquired  the  stellar  name  instead 
0.   her  own,   Rupp, 
Gwynne     Pickford    has    been    at 
■I  in  Switzerland,  and  Mary  de- 
termined  upon  her  return  for  a  visit, 
\n  up  so  much  that  the 
alteration  was  advisable  in  case  her 
niece  wished  in  future  to  have  a  ca- 
reer oi  her  own. 

Clever  European  Recruit. 
We  met  a  clever  German  actor  not 


Ion-    ago    "ii    ,,ne   of    the    sets   at    the 
Metro-Goldwyn  studio.     lli>  name  is 
Tio  Shall,  and  we'll  venture  he'll 
he  seen  in  American  versions  of  pic- 
tures. 

He  knew  no  English  at  all  before 
coming  to  America,  hut  possesses 
such  linguistic  ability  that  he  learned 
to  converse  with  fluency  in  three 
weeks.  His  speech  is  so  free  from 
tit  that  it  is  certain  he  will  he 
kept  in  this  country.  He  is  both 
young  and  an  excellent  actor. 

Shall  is  playing  in  the  German  ver- 
sion of  "(hie  Glorious  Night,"  which 
is  called  "Olympia."  French  and 
Spanish  versions  are  also  being  made 
of  this  same  feature,  in  which  John 
Gilbert  originally  starred. 


Over  the  Teacups 

Continued  from  page  40 


And  what  about  Mary  Pickford?" 
I  a-ked. 

'Well,    if    she's   here   as   some   of 

the    newspapers    insist,    no    one    has 

been  able  to  prove  it.      Her  actions 

are   shrouded   in   mystery   nowadays. 

No  one  knows  why  she  stopped  her 

ire   in   the   midst   of    production. 

perfectly    reasonahle    to 

suppose  that  she  called  a  halt  because 

didn't    like    it.      Xo    one    knows 

why  Douglas  Fairhanks  rushed  off  to 

gland  a  while  ago,  their  very  first 

since  their  marriage.     Of 

a    lot    of     people    hazarded 


guesses.  Maybe  they  shouldn't  have 
made  that  picture  together.  Maybe 
their  troubles  are  none  of  our  husi- 

I  think  that  last  guess  is  about  the 
best  one.  I  agree  heartily  with  the 
Xew  York  newspaper  reviewer  who 
jested  "Be  Kind  to  Clara  Bow" 
week  after  Clara's  philanderings  had 
been  aired  in  the  papers.  And  I 
think  the  general  tolerance  ought  to 
extend  to  a  week  in  which  the  Pick- 
ford-Fairhanks  family  would  be 
spared  any  divorce  rumors. 


What  the  Fans  Think 

ntinoed  from  page  105 


'.a<  terrible.    She  isn't  even 
has  a 
nice   figure.      I   have   only   seen    one   good 
picture   of    Greta   Garbo ;    in    all    tfo 
she  look-  positively  ugly.     N'eith- 
n  popular  nd. 

The   be->t    cumedian    that    ever    liv 

haplin,  and,  oh.   I   do   wish   we 
!    have    more    of    hi-    film-        1 

I  the  best  comediennes  along 

B.    F. 
Blackpool.   England. 

Proof  of  th;  Player. 
The  unfair  criticism  of  the  stage   stars 
in    June    Put  ,    prompted    action 

in  defense  of  Dennis  King.     The  fact  that 
remarkable  a.  ■!  on  the 

.ahond    King"    for    thir 
weeks    in    Chicago    o:  :'    of    his 

as  an  act 
Why    object 
picture'?      Surely   a   great   num 
■re  far  a 
■ 
pie      I 
1  a  play  merely  because  the  hero  or 


:ne  has  a  ravi shingly  beautiful    face? 

;'s  not  be  narrow-mind 
Let   me   hear  three   rousing  cheers 

King,     Lillian     Roth,    Alex 
Gray,   Marilyn   Miller,   Jeanette   MacDon- 
ald,    Bernice    Claire,    Kay    Johnson,    and 
countle--  others,  who  perhaps  do  bel< 
Broadway,  but  who  al-o  arc  capturing  the 
interest   and    respect    of    all    who   an 
entirely    prejudiced. 

Miss  Kay. 
Ltica.   1 1 1  fi7 

The   Storm   Goes  on. 
In  thr  March   PiCTUM  Pi. ay,  the  letter 

of  in  forma  tio  informs  us  thai 

han   '  i   arti-t,  that   she 

mediocre   actre-s   on  the   li 
that  she  tilt. 

Like  Will   R  'all  I  know 

I  read  in  the  pap<  r 
■ 
but    I   am   '  tain  she  is  not 

guilty  of  the  above  imputati 

her   act  it  let    m<-   quote 

D    \\     Griffitl 

■    114 


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rwiin  stun 


J0U 

a  too 

will  be 

HAPPY- 

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To  hart  Invdy.  lustrous,  gloriously  beautiful  hair: 
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I  future. 
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group.  II  LIFELIKE 

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I 

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"IVtn     M.Khlv  Cl.w.d 
Hand   Painted    MINIATURE 
roced  ftom  your  photo  will  ul  o  U  g  . 


.-I. 


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110 


La  Fazenda  Tops  tke  WaVes 


Continued  from  page  56 


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Through  work  days,  she  finds  time 
to  read  her  mail,  and  to  answer  many 
letters  personally.  Fans  remember 
her  at  Christmas  and  birthdays, 
tin  nigh  she  would  rather  they  didn't, 
fearful  that  the}-  deprive  themselves. 
A  woman  who  grows  pepper  sent  her 
a  lot  of  it.  A  Scot  of  Dundee  sends  a 
cake  at  regular  intervals.  A  Sheffield 
spoon  from  a  resident  of  the  city  of 
silverware.    A  newfangled  can  opener. 

Externally  Louise  is  ham-and-eggs, 
gingham,  pins  and  darning,  and 
kitchen  pans,  geraniums,  a  sewing 
basket  on  a  scarred  walnut  tabic, 
under  the  glow  of  a  rose-shaded 
lamp. 

Her  figure  is  Junoesque.  The  long, 
flowing  lines  of  this  season's  fashion 
suit  its  fulsome  contours ;  the  short- 
skirt  era  was  a  nightmare. 

Spells  of  depression  engulf  her, 
eventually  kidded  aside  by  an  effort 
of  the  will.  Her  most  bitter  disap- 
pointment was  her  failure  to  get  a 
role  in  "The  Dark  Swan,"  long  de- 
sired and  of  which  she  was  practically 
assured.  That  hurt  made  her,  for 
the  only  time  in  her  life,  seriously 
contemplate  suicide  on  the  boat  home 
from  San  Francisco.  She  *  has 
learned,  since,  to  be  chary  of  hoping 
for  too  much,  experience  having 
shown  her  that  compensation  waits. 
Subscribing  to  no  set  philosophy,  she 
is  all  mixed  up  with  impulses  over 
which  her  practical  sense  eventually 
triumphs. 

Her  parents  were  past  middle  age 
when  she  was  born.  It  is  said  that 
children  of  older  people  are  the  brain- 
iest. Certainly,  the  viewpoint  of  her 
elders  was  responsible  for  her  early 
maturity  of  character.  Her  first 
home  was  an  humble  cottage,  near 
the  old  Los  Angeles  station.  The 
pioneering  spirit  early  manifested  it- 
self:  once  she  ran  away  to  see  the 
world,  and  got  locked  in  a  freight 
car. 

Mr.  Fazenda  was  a  grocer.  The 
struggle  for  a  living  darkened  days 
which  should  have  been  unclouded, 
childish  joys.  She  wore  her  mother's 
clothes,  made  over,  and  high-necked, 
long-sleeved  monstrosities  that  her 
well-meaning  but  inartistic  grand- 
mother fashioned.  Cotton  under- 
wear, stiffly  starched  white  petticoats. 
Her  clothes  bunched  always,  or  some- 
thing would  be  showing. 

With  her  acute  hypcrsensitiveness, 
she  saw  that  she  didn't  conform  to 
the  pattevn  that  walled  her  life  at 
school.  The  other  girls  were  pretty  : 
she  was  plain.  They  had  "manner-.." 
she  only  grand  intentions  that  turned 
into  awkwardness.     Her  mother  had 


been  known  as  a  beauty  in  their 
circle.  An  old  friend's  gasp,  "'Can 
this  be  Nellie's  child?"  locked  into 
Louise's  heart  constant  hurts.  In  the 
distant  to-morrows  her  harvest  of 
those  pains  was  to  be  reaped  in  an 
ability  to  earn  blessings  a  hundred- 
fold. The  ugly  duckling  was  to  be- 
come a  bird  in  calico  comedy,  wing- 
ing its  message  to  hungry  souls. 

At  the  age  of  seven  she  won  a 
prize  for  writing  a  fairy  tale ;  half  of 
that  three  dollars  she  saved.  Regard- 
less of  how  trying  the  times,  with 
characteristic  precision,  she  put  aside 
part  of  her  earnings  from  each  job. 
There  were  few  sunny  playtimes. 

She  sold  papers  downtown.  Her 
lungs  were  as  lusty  as  the  boys',  her 
feet  as  speedy ;  as  fast  as  they  chased 
her  away,  she  would  return.  She 
"chored"  for  housewives,  cleaned 
house,  tended  children. 

As  chocolate  dipper  in  a  candy  fac- 
tory, her  big,  strong  hands  became 
numb  with  the  ceaseless  routine. 
More  pleasant  tasks  were  those  as  a 
dentist's  aid,  as  clerk  in  the  tax  col- 
lector's office.  Summer  meant  prep- 
aration for  winter's  struggle.  Col- 
lege was  her  high  dream — Stanford. 

It  isn't  in  her  make-up  never  was, 
to  whine.  But  one  Christmas  things 
crowded,  too  heavily  to  be  borne.  A 
woman  in  the  boarding  house  next 
door  heard  her  crying,  and  got_  her 
work  as  a  movie  extra,  with  Univer- 
sal, in  an  Indian  picture.  Of  each 
day's  three  dollars  she  saved  half. 

Despite  its  interesting  occupation 
and  its  princely  remuneration  that 
period  was  not  without  those  personal 
pains  which  will  agitate  her  always. 
One  day  her  hair  was  curled  and  she 
was  dressed  in  lovely  clothes:  She 
paraded,  exultant.  Maybe,  if  she 
could  walk  gracefully,  she  would  look 
just  like  the  others:  but  a  five-dollar 
check,  for  any  girl  who  could  make 
up  to  look  like  a  Negro  mammy,  was 
too  tempting.  She  had  experimented 
with  the  grease  paints.  Sadly  she 
took  off  her  grand  dress. 

Her  calico  childhood  followed  her 
to  Sennctt's  in  1916.  Goddess  of 
grotesquerie,  she  cavorted  with  the 
Keystone  Kops,  chased  Teddy,  the 
great  Dane,  and  Pepper,  the  cat,  and 
geese  and  ducks,  and  pitched  pies 
with  a  hefty  right,  for  thirty-five  dol- 
lars a  week.  She  was  rich  !  Occa- 
sionally she  was  dressed  up ;  invari- 
ably, pride  was  dethroned  by  humili- 
ation. While  negotiating  the  stage 
on  teetering  heels,  she  would  trip. 
And  they  would  have  her  repeat  that 
inadvertent   comedy  for  the  camera. 

Panic  seized  her  when  the  screen 


Ill 


went  sound.     How  could  she  com- 
witli  stage  actresses   skilled   in 

il  nuance?  With  innate  shrewd- 
-  and  knowledge  of  the  business 
she  saw  that  training  would  develop 
an  artificial  voice  not  compatible  with 
the  humanness  ever  her  first  aim. 
To  Louise,  however,  a  challenge 
means  a  redoubling  of  effort :  from 
that  storehouse  of  self  she  exca 
her  arms  of  battle. 

Her  test  was  a  terrific  shock.     Re- 
alizing that  making-up  the  voice  was 
ntial,  she  used  an  affected,  sweet 
rano  in   "The   Terror."      The  en- 
tire   cast    suffered    from    an    inauspi- 
cious vocal  debut.     She  began  to  fig- 
lire  out  accents,  conscientiously.    Then 
she  hit  upon  an  individual  note.     "A 
iar   noise   shocks    people,   hut    it 
arrests   attention    and    they   begin    to 
listen  for  its  repetition.    So  1  evolve 
a    different    noise    for    each    picture. 
nt      with     the     character,     a 
chuckle,   a   giggle,   a    scream,    so   on. 
Kach  has  its  own  noise  note." 

In  each  oi  her  twenty-odd  conver- 
sational films  she  has  used  a  differ- 
ent voice,  never  yet  speaking  with  her 
own.     She  "thinks"  voice. 

A  series  of  comedies  for  Darmour. 
on  the  RKO  program,  must  he  sand- 
wiched hetween  featured  roles.  The 
talkies  have  given  her  variety,  and 
more  often  have  dressed  her  up. 
"Spring  Is  Here"  was  endurahle  only 
use  Louise,  well-crowned,  and 
coifed,  displayed  so  much  of  her 
own  charm.  They  have  made  her 
happier.  A  year  ago  she  was  de- 
spondent, feeling  her  progress  halted. 
To-day  she  glows  with  resilient  am- 
bition. 

Others  can  write  of  her  screen  skill 

more  deftly  than   I.     They   see  the 

st    in    her    absurd    caricatures:    I 


cannot  escape  the  Louise  who  shine-, 
through  her  eccentric  shadow.  [c- 
them  she  is  a  freak  funster;  to  me  the 
pathos  of  the  would  of  misfits,  twisted 

into  a  grimace, 

She  passes  every  Crisis  in  this  cha- 
otic business,  because  she  has  adapta- 
bility, stamina,  courage,  will,  brains, 
and  a  hardy  constitution,  all  essentials 
to  permanence.  Beauty  is  the  least 
important  qualification. 

Her  voice,  like  her  characteriza- 
tions, is  drawn  from  life,  though  ex- 
rated.  You  love  her  because, 
through  the  torn  anil  dusty  veil,  you 
see  j  "in-  \nnt  Arabella's  bright  i 
peering,  or  the  spinster  Suzanna  of 
the     shabby     grandeur    remember? 

Once  a  director  remonstrated  that  no 
woman  would  choose  such  a  queer 
dress.  It  was  her  own  aunt's  best 
black  silk  ! 

Hollywood  smiles  at  her  yearnings 
for  dramatic  work.  That  reaching 
for  an  opposite,  usually,  is  a  mere  ex- 
pression cf  the  actor  temperament, 
the  ego.  the  restlessness. 

Duse,  Bernhardt.  Rejane,  Terry, 
Fiske.  Rehan — those  are  her  idols. 
Ridiculous  though  it  may  seem  to 
those  acquainted  only  with  the  farci- 
cal Fazenda,  I — nor  am  I  alone  in 
this  insistence — believe  her  powers 
indefinite.  Some  day  a  director  with 
an  adventurous  spirit  will  cast  her  in 
a  dramatic  role  of  strength,  shaded 
with  very  human  gradations  of  feel- 
ing :  then  we  shall  see  a  new  and  com- 
pelling actn 

"Whal  kind  of  a  nightmare  are  you 
having?"  she  laughs,  when  T  broach 
the  thought.  "Nobody  is  crazy 
enough  to  go  broke  to  please  my 
whim.  I'm  reconciled  to  being  the 
comedy  relief." 


Tke  Mystery  of  Your  Name 


Continued  from  pag 


can  be  very  successful  indeed  as  a  public 
speaker  of  some  kind,  for  yours  is  the 
gift  of  the  spoken  word,  of  teaching  and, 
to  a  certain  extent,  of  acting.  Right  now, 
I   kr.  :'eel  as   if  you   never   would 

amount  to  anything  at  all,  for  everything 
has  been  going  wrong,  in  your  material 
and  your  emotional  life,  for  at  least  three 

iwn  to  r.' 
and  you  are  \  to  marry-, 

the  only  man  you  arc  inl 
been    married    before,    awl    anyway, 
can't   make    up    your    mind    to    take    him. 

•.  my  dear,  don't.     All  your  wo 
ful  intuition  and  your  spiritual  mastership 
tell   you   not   to,   and    if  will 

plunge    yourself    fa  iblc. 

With  this   name  you   will   a'  iagc 

quite  well,  financially,  no  matter  what 
happens,    and  will 

be  very'  well  must  have   I 

fever  when  you   were   about   five,   in  con- 


nection with  some  abdominal  trouble,  and 
at  eleven  or  twelve  you  had  another  ill- 
ness. It  may  not  have  been  serious,  but 
it  was  there.  You  were  desperately  in 
love  when  you  were  sixteen,  and  only  your 
age  kept  you  from  getting  married.  At 
about  nineteen  you  were  in  a  very  serious 
accident,  having  to  do  with  some  kind  of 
transportation  or  with  speed.  Were  you 
thrown  out  of  an  automobile?  I  must 
admit  that  you  will  not  escape  a  lot  of 
trouble  between  thirty  and  forty,  but 
have  the  spiritual  insist  and  thi 

best  Of   it.  and    I    know 
will.     There  is  no  successful  mar 
in  til  : i early  fif( 

and  make  a  real  can  i-r  for  your- 
self until  then.    At  that  time  you  will 
the   true    love   you    ha  f.,r   and 

will  enjoy  it  for  a  few  years, 
unwilling   to   fitrht    for    what    ought    t 


use  this  aid  to  eye 
beauty  and  health 

,,d  by  milliona 


Murine  ifl  " 


WM"  i        .„  their  r\« » 

♦dear.  l»r'r"1  ,,„iii"   i» 

f,,r<>ver.itlM,,r  .         ....l 


forOV,r,Vi  citation  ;...<! 
the  e>  es  0 

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n.ananotieeabUen- 

JL  their  sparUc.  Mlc 
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MYSTIC  DREAM 

OXJ  **■  dr.  un>  mrkfi,  In  .rprel 
dreams  fur  >ou  fnrnda.  Tri  them 
when  they  will  mar-  and  »h<  m  and 
other  inte  eatinit  [•hf>n<-rncr,n.  Tells 
"fortune*"  by  c  rdn.  teacup,  palm- 
istry, etc.  List*  "lucky  and  un- 
lucky" days.  More  loiaMmaol  in 
Uiia  200-pajra  book  and  br  rhure 
than  $1  wo  Id  buy  .n>wherr  Regu- 
lar ft  value.  Send  only  45  Cent*. 
coin  i  r  ttanma,  that 'a  HI  t-ntfifac- 
liuotiuaranteed.  Smaller  Bo-.k  Ha. 


NERVES? 

^M   Are   You   Always   Eaclted?      Fatigued  ?     Worried? 

vJafjJ   Gloomy?   PettlmKtlc?   Conatipati*  0,  Indlcaajtloa,  cold 

■wrnta.    dis'V    apella   and  »«■«  wnlr:.,,  tr«  rauaed  be 

NERVE    EXHAUSriON.       I-r     •..    ton,cm    arvl    mrd.r,.,,.    Mn.ol    aaje> 

I    pereaa/      l^-arn  h  >w    to    r«-t-»W  Vt-or.  ealrancaa  and  Self 

-.    Send  2Sc  1orttm.ir.ii- 


HICHARD   BLACKSTONE,  N-3210  FlAflPON   BLOC.  NEW     YORK 


IllUI 

I    BttM 

NtJ 

I'rkJ, 
off! 

nrlad. 
Bend  tbli  ad  tnd  root  nMren. 
to  tn  FRKR  unlamtlfin  how 
"OYPS1  »"  •-    ■<     Tlalr     tnd 

nooi. 
GYPSI*.  PRODUCTS  CO..  (P)  55  W.  42  St..  N.  Y 


GYPSl/1 


JO 


^NOSE 

JBeaulificd/ 


OPERATION-NO  PAIM 
DAY  HOME  TRIAL- 


■ 

Quick 
OKLET 

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■ 

OR.    JOSEPHS.    Inc 
D'Pt      L- 17.    Irvlnilon.     N.    J. 


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Razzberries  for   Our  H 


ero 


Continued  from  page  25 


clean  shaven  on  the  deserted  isle,  de- 
spite t>e  fact  that  the  villain  is  gen- 
erously bewhiskered,  awakens  and 
arouses  Ferdinand,  who  launches  out 
in  pursuit. 

]  [e  gets  to  the  beach  just  in  time  to 
sec  the  longboat  pulling  out  toward 
the  ship.  It  is  a  beautiful  shot.  In 
fact  it  is  so  beautiful -that  a  camera- 
man recognizes  it. 

"Why,  the  dirty  hums!"  he  says. 
"I  made  that  shot  two  years  ago  for 
an  entirely  different  picture.  "Can  you 
imagine  them  cheating  it  in  here?" 

Now  I  ask  you,  what  is  Ferdinand 
to  do?  He  has  no  boat.  He  can 
swim,  but  that  necessitates  leaving  the 
elderly,  feeble  captain  ashore  to  the 
none-too-tender  mercies  of  the  canni- 
hals  from  Central  Avenue.  Ferdi- 
nand undoubtedly  could  vanquish 
whole  hordes  of  them  himself — as 
the  picture  indicates — but  the  old 
captain  is  a  different  matter.  He 
isn't  a  hero — just  a  character  actor 
who  owns  a  hat  store. 

Now  the  captain-father  has  his 
heroic  scene,  which  Ferdie  unsuccess- 
fully attempts  to  steal. 

"Go  !"  he  says,  beating  his  breast. 
"Go  and  save  my  daughter.  I  will 
gladly  sacrifice  my  life/' 

He  insists  upon  Ferdie's  taking  the 
revolver,  for  which  the  hero  has  a 
seemingly  inexhaustible  supply  of 
bullets  concealed  about  his  person. 

"Heh,  heh,"  croons  some  one  who 
apparently  has  done  business  with  the 
elderly  actor,  "imagine  that  old  guy 
being  self-sacrificing!  He  wouldn't 
lend  his  own  grandmother  a  plugged 
penny." 

Ferdie  goes,  all  right.  He  launches 
out  to  sea,  swimming-  with  prodigious 
strokes. 

"Wonder  who  that  double  is  there 


doing    the     swimming?"     some    one 
speculates. 

"The  assistant  director  did  it,"  lie 
is  answered. 

Ferdie  makes  it  to  the  boat,  as  we 
rather  suspected  he  would,  before  the 
villain  weighs  anchor  and  departs 
with  the  girl,  and  steals  aboard. 

"Say,"  some  one  ejaculates  at  this 
point,  "isn't  that  boat  the  one  we 
used  in  that  sea  picture  last  year?" 

"Naw,"  is  the  answer,  "that  ain't 
a  boat  at  all.  That's  only  a  set  they 
built  in  the  tank  at  the  studio."   . 

It  seems  that  things  have  been  go- 
ing badly  on  the  boat.  Also,  there  has 
been  mutiny  among  the  crew,  and 
the  villain,  who  apparently  is  an  old 
pal  of  all  the  sailors,  takes  charge. 
Things  look  tough    for  the  ingenue. 

But,  aha,  Ferdie  is  here.  Some- 
how or  other,  the  automatic  revolver 
didn't  get  damp  in  his  strenuous 
swim,  and  at  the  psychological  mo- 
ment he  pounces  into  the  cabin,  where 
the  villain  is  practicing  the  laying  on 
of  hands,  dashes  in  his  skull,  carries 
the  goil  in  his  arms  to  the  bridge,  in- 
timidates the  crew  and  they  start 
home. 

The  picture  ends  in  a  gorgeous 
scene  at  sea,  with  the  hero  and  hero- 
ine in  a  strangle  hold. 

"Beautiful  shot,"  some  one  com- 
ments. "Wonder  where  they  made 
it." 

"Didn't  make  it  at  all,"  is  the  reply. 
"It's  a  miniature." 

So  hero  and  heroine  sail  away  into 
the  sunset,  supremely  happy.  They 
have  forgotten  all  about  the  infirm 
and  aged  parent  surrounded  by  can- 
nibals from  Central  Avenue.  But 
then  they  probably  really  didn't  eat 
him.  The  chances  are  that  he  sold 
them  all  hats. 


Not   as  Otker  Children 

Continued  from  page  43 


"How?"  I  whispered,  likening  this 
young  Irish  charmer  to  Deirdre  of 
the  Sorrows. 

"■Well,  to  understand  life  and 
people  you  must  first  learn  to  un- 
derstand yourself — your  motives  and 
actions.  Then  you  become  more 
tolerant.  I  think  a  player  gets  a  bet- 
ter chance  to  become  compassionate 
than  an  ordinary  person.  She  por- 
trays various  roles — sees  the  mistakes 
different  types  make  in  life.  It  is 
that  taking  on  of  different  personali- 
ties that  gives  her  an  opportunity  to 
feel  as  other  persons   feel. 

"It    is   .-aid   that   actors   are   a   class 


unto  themselves.  It  is  not  that  play- 
ers determinedly  cut  themselves  away 
from  the  rest  of  humanity;  it  is  only 
that  they  are  more  broad-minded. 
They  understand  their  fellow  men. 
Without  hypocrisy  they  face  life  and 
say,  'Well.  I  understand  why  that 
man  is  as  he  is.'  T  know  why  she  is 
like  that.'  " 

Maureen  broke  off.  Somehow  I 
alluded  to  drunkards.  I  said  I 
couldn't  understand  why  any  one 
could  get  drunk. 

"I  understand."  Maureen,  mur- 
mured. "His  one  .method  of  brief 
contentment    is    drink.      Instead    of 


113 


using  other 


iter  methods  he   seeks 
that  escape. 

"But  one  must  follow  a  path  of 
rules.     It  is  very  easy  t  v  to 

emotion.  It  is  ever  so  easy  to  jump 
into  the  whirlpool  oi  hectic  existence 
I  am  living  a  free  life  !' 
"That  is  not  true.  A  wild  life  is 
not  a  free  life,  for  a  person  indulging 
in  one  has  to  he  a  slave  to  its  com- 
mands. 

"Every  one  has  to  go  according  to 
law  and  order,  if  he  wants  to  under- 
stand life  correctly." 

I  felt  rebellious.  "Always?"  I 
gasped  in  dismay. 

"Always."  Maureen  insisted  firmly. 
ke  a  cake  without  following  the 
recipe  and  see  what  results  you  . 
An  expert  cook,  who  has  gone  over 
the  directions  many  times,  can  make 
a  cake  from  memory.  But  no  ama- 
teur can. 

"So  it  is  with  life.  If  we  fix 
proper  rules  for  ourselves  wc  come 
eventually  to  follow  them  subcon- 
sciously. We  need  never  fear  to  get 
things  mixed,  to  overdo  any  one 
thing.  Take  the  cake  metaphor  again. 
Too  much  sugar  will  spoil  everything 
else  in  the  cake.  Too  much  jazz  will 
spoil  the  other  pleasant  things  in  life. 
By  letting  one  thing  dominate  us. 
we  are  controlled  by  it.  Instead  of 
being  free  to  study  life,  we  are  swept 
along  with  the  crowd  without  learn- 
ing anything. 

"To  dash  into  things  carelessly,  not 
caring  what  you  do.  soon  creates  an 
upheaval   in  your  mind.     Then   you 
rail  against  life  for  being  cruel. 
"Tradition  does  help  to  spoil  pome 
.  but  only  if  the  person  is  weak 
enough  to  let  it.    It  only  goes  against 
people   who   are   narrow-minded,    all 
d  up  inside  themselves.      Rclig- 
fanatics    are    the    worst    kind. 
They    kill    religion    with    their   hard- 
heart  edness. 

"That  is  why  I  want  to  act.     That 

by   I   am  glad  now  to  be  alone 

a  while.    I  can  study  other  people 

and  life.     Inside  me  I   feel  then 

•thing    that    has    to    he    freed — 

thing  with  which  I  can  soar  to 

unknown  height - 

This  strange  thing  causes  Maureen 
>  crazy  over  airplanes  in  the  sky. 
"They  thrill  me.  because  they  sym- 
bolize something  very  beautiful." 
said,  while  the  hazy  glow  before  her 
:i   to  shine  brighter. 
"I  know,"  almost  sobbed  the  smit- 
\Ve  were  once  all  an. 
we  are  fallen  to  earth.    At  li 
-  cue  obscure  book  informed  me. 
1    we're    all    trying    to    get    back 
where  we  came  fro: 

"Maybe  that's  so."  Maureen  added. 


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Name    Ago    

Address    

Town    State    


Chelsea  House 


The  Brand  of 


Good  Books 


Auctioned  Off 

By  Vivian   Grey 

It  begins  with  a  foolish  prank  at  a 
wild  college  party.  Rosma  Ainsley, 
beautiful,  thoughtless,  gay.  is  "auctioned 
off"  to  lllo  London,  wealthy  man  about 
town.  Very  soon,  what  Btarted  as  noth- 
ing more  than  a  gesture  of  folly  becomes 
desperately  serious.  Rosma  goes  to  Lan- 
(lun's  apartment  with  a  girl  friend  and 
another  man.  Landon  makes  love  to 
her,  hut  she  escapes  him.  It  seems  as  if 
she  bad  lost  forever  the  love  of  Bob 
Whitney  and  lost  besides  the  respect  of 
the  community  in  which  she  lives. 

Rosma  goes  to  Landon  and  tells  him 

that  she  will  marry  him,  but  he  refuses, 
saying  that  he  is  not  the  marrying  sort. 
She      leaves      him      depressed,      defeated. 

Things  look  black  for  the  girl,  and  then 
of  a  sudden  a  situation  develops  which 
sweeps    the    reader    along    in    its    furious 

pace. 

"Auctioned  Off"  is  a  love  story  Very 
much    in    the    tempo    Of    the    limes,    dene 

with  deep  feeling  and  an  eye  for  the 
dramatic  which  is  characteristic  of  all 
its  talented  author's  work.  It  belongs 
iin   your  book   shell. 


75c 


75c 


HELSEA  HOUSE 
HJBLISflErg 


70-89  SEVENTH  AVE. * 
NLW  YORK  CITY 


actually  with  a  smile.  "That  is  why 
we  always  want  to  jump  off  high 
places  and  fly  to  great  heights." 

"And  believe  in  fairies." 

"And  understand  the  shortcomings 
of  others." 

To  this  last  remark  I  maintained  a 
dignified  silence,  wondering  if  any 
personal  affront  was  intended.  But 
Maureen's  smile  banishes  all  doubts. 


In  fact,  as  she  smiled  me  out,  I  knew 
I  was  very  right  regarding  my  first 
allusion  to  star  dust  and  mystic  songs. 
"Song  o'  My  Heart"  was  a  pro- 
phetic title.  It  gave  Maureen  her 
first  chance  to  express  that  strange 
force  within  her  that  is  battering  for 
freedom.  And  Maureen  will  follow 
her  own  way.  And  you  may  depend 
on  it  she  will  succeed. 


A  Prophet  xtfith  Honor 

Continued  from  page  52 


"It  is  becoming  difficult  to  hold 
the  same  cast  through  the  entire  run 
of  a  play.  Picture  producers  come 
shoving  contracts  under  a  player's 
nose.  And  the  contracts  are  pretty. 
However,  I  always  tell  my  cast  in 
advance  that  they  are  not  to  feel 
bound  down  by  their  contracts  with 
me.  Picture  offers  are  so  remunera- 
tive, I  never  want  to  stand  in  the  way 
of  one  of  my  players  accepting  one. 
Both  producers  and  players  have 
shown  great  consideration  when  such 
an  occasion  arose. 

"Now  and  then,  in  the  topsy-turvy 
new  order  of  things,  I  go  stealing 
from  the  movies  for  my  talent.  When 
we  did  'Serena  Blandish,'  Sylvia 
Fields,  whom  we  wanted  for  our 
star,  was  borrowed  from  Fox." 

It  is  known,  incidentally,  that  al- 
though Miss  Fields  was  eager  to  do 
the  play  regardless  of  salary,  the  stu- 
dio, as  is  customary,  demanded  her 
screen  salary  for  the  engagement, 
which  Horton  paid  without  a  mur- 
mur. 

"Did  you  see  'Alibi'?"  Horton 
asked.  "What  a  picture — and  what 
a  performance  Chester  Morris  gave ! 


When  I  see  pictures  like  that  and 
'The  Trespasser,'  in  which  Gloria 
Swanson  takes  a  trite  story  and 
makes  you  believe  it,  and  leaves  you 
gasping  at  the  magnificence  of  her 
talent,  then  the  last  remaining  doubt 
about  talkies  is  swept  from  my  mind. 
I'm  all  for  them.  Until  I  see  one  of 
my  own,  that  is.  Then  I'm  not  at  all 
sure." 

On  one  occasion,  Horton  informed 
Darryl  Zanuck — Warner  Brothers' 
white-headed  boy — that  he  consid- 
ered the  pictures  he  had  appeared  in 
the  lowest  form  of  moronic  rubbish. 
Zanuck  smiled  gently,  lifted  from  the 
files  the  box-office  receipts  on  "The 
Hottentot,"  "The  Sap,"  et  cetera,  and 
pointed  complacently  to  the  figures. 
The  returns  were  tremendous.  Hor- 
ton still  thinks  the  pictures  were  ter- 
rible. However,  in  "Holiday,"  with 
Ann  Harding,  he  finds  himself  in 
congenial  company — a  rare  experi- 
ence. It  is  the  sort  of  thing  with 
which  he  is  identified  on  the  stage. 
But  one  feels  that  he  will  continue  to 
live  his  real  life  in  the  Majestic  The- 
ater. 


What  the  Fans  Think 

Continued  from  page  109 


lived,  of  stage  or  screen,  than  Lillian 
Gish."  Surely  Florence  Bogarte  will  not 
assail  the  word  of  Mr.  Griffith. 

I  am  inclined  to  consider  Florence  Bo- 
garte herself  somewhat  of  an  egotist,  since 
she  has  assumed  the  self-appointed  task  of 
ridiculing  Lillian  Gish,  America's  greatest 
actress. 

Florence  Bogarte,  I  sincerely  hope  you 
will  soon  come  to  admire  and  appreciate 
Lillian  Gish  as  she  should  be  admired 
and  appreciated.  Ruth  Fohl. 

Box  562,  Naples,  Florida. 

Straight  Talk  About  Ramon. 

"One  of  Ramon's  Fans"  found  fault 
with  Ramon.  I  am  going  to  find  fault 
with  "One  of  Ramon's  Fans."  And  -be- 
cause the  faultfinder  in  May  Picture 
Play  seems  sincerely  fond  of  Ramon,  I 
do  not  think  that  a  straight  talk  from  a 
fellow  fan  will  come  ami>v 

My  friend,  you  do  not  seem  to  realize 
that,  to  be  at  his  best,  Ramon  cannot  al- 
ways  look   his   best.     After  a   particularly 


strenuous  scene,  a  slight  disorder  in  his 
curls  and  a  shine  on  his  nose  is  permis- 
sible, surely?  Were  he  always  to  pre- 
sent a  perfect  coiffure  and  a  perfectly 
powdered  proboscis  to  the  camera,  he 
would  deserve  the  charge  of  self-suffi- 
ciency and  conceit  that  was  unjustly  made 
against  him  recently.  Maybe  Ramon  does 
not  always  look  "nice"  :  he  prefers  to  look 
natural — and  I   like  him   for  it. 

The  day  of  the  dapper  matinee  idol  is 
over.  A  movie  male  has  to  be  a  man,  if 
he  wants  to  get  by  these  days. 

I  saw  "Forbidden  Hours,"  and  I  can- 
not understand  your  reception  of  the  film. 
The  plot  was  by  no  means  powerful — and 
it  certainly  was  hackneyed;  but  the  whole 
thing  was  well  directed,  the  acting  was 
skillful,  and  the  charm  of  Ramon  was 
behind  every  scene — deftly  and  delicately 
coloring  episodes  that  might,  in  other 
hands,  have  been  drab.-  The  film  was  not 
a  driveling  mess.  It  was  not  worthy  of 
its  star,  but,  dash  it  all,  if  you  do  not 
Continued  on  page  117 


II', 


A  Tintype  Heritage 

ntinucd   from  page  ,!ii 


him  so  well  that  he  \\a>  given  a  city 
engineer's  license  in  St.  Louis  and 
the  management   of  a  power  plant. 

All   of    which   excited    Huston    r 
bit.     He  >t.'oiI   tour  years  of  it.  then 
Bed  to   New   York  and  the  theater 
once  more. 

After    careful    consideration    and 
brin§  bear  the  fruits  of  his  ex- 

perience and  his  own  theories  regard- 
Dig  technique  he  evoked  a  one-man 
vaudeville  act  of  monologue,  songs, 
humorous  and  dramatic  sketches.  At 
a  try-OUt  he  was  immediately  signed 
S3  a  headliner  on  the  Keith  and  (  h- 
pheum  circuits.  For  more  than 
e  years  he  was  one  of  vaude- 
ville's prize  stars  writing  and  plan- 
g   his  own  a. 

n  a  -vacation  visit  with  his  sister 
in  Santa  Barbara,  Huston  was  asked 
to  appear  in  "The  [Boomerang"  at  the 
community    theater.      To    oblige    his 

r's  friends,  who  were  interested 
in  the  organization,  he  agreed.  And 
found  that  he  had  forgotten  the  satis- 
faction of  doing  three  acts,  instead 
of  a  twenty-minute  skit.  When  he 
returned  to  New  York  it  was  with 
the  intention  of  quitting  vaudeville 
for  legitimate  drama.  The  title  role 
in  "Mr.  Pitt"  served  this  pur] 
and  to  establish  him  in  the  front  rank 
of    dramatic  "Desire    Under 

the  Elms."  "The  Barker."  "Coi 
and  "Elmer  the  Great"  followed. 

One  of  the   fir  players   re- 

cruited for  talkies,  he  did  a  few  short 
subjects — "The      Bishop's      Candle- 
stick-."   "The    Carnival     Man"    and 
"Two     Americans" — all     for     Para- 
mount.    And  for  the  same  company, 
cellent    picture-    "Gentlemen 
of  the  Pre--."  "The  Lady  Lies."  and 
"The     Virginian."       Then     he     was 
n  by  I).  \Y.  Griffith  for  "Abra- 
ham Lincoln"  followed  by  "The  Bad 
and  "T 


I  nlikc  most  oi  his  contemporaries, 
Huston  is  well  pleased  with  Cali- 
fornia as  his  new  home,  so  long  as  lie 
can  have  the  autumn  of  ever)  year 
in  X\\\  York,  doing  a  pla\ . 

"  llu!  i '-  only  one  place  in  the 
world  where  you  can  live  all  the  war 
round,  and  that's  Yew  York.  But 
California  i-  a  good,  healthful  coun- 
try and  the  people  are  pleasant.  Hick 
Arlen  and  his  wife  have  been  awfully 

I  tO  me.  Such  nice  youngster- 
they  are.     And  Hick  is  a  fine  actor." 

An  obvious  question  to  put  to  a 
player  of  the  Huston  caliber  is  "What 
constitutes   good   acting?" 

"A  few  simple  rules  are  all  that  is 
necessary  if  intelligently  observed. 
The  character  to  he  played  should  be 
studied,  and  then  studied  again,  and 
then  a  few  more  times.  Until,  auto- 
matically, you  read  lines  and  devise 
business  in  his  way  not  your  own. 
But,  while  the  feeling  is  entirely  his, 
it  must  be  projected  from  your  own 
mind.  You  must  be  two  people. 
The  delicate  coordination  of  the  two 
is  the  goal. 

"<  me  of  the  greatest  mistakes  is 
the  business  of  interpreting  lines  for 
an  audience.  They  shouldn't  he  ac- 
companied by  explanatory  gestures 
and  expressions.  The  lines  tell  the 
story  and  reveal  the  character.  They 
are  the  structure  of  the  whole  idea, 
and  shouldn't  he  buried  under  facial 
contortions.  They  can  he  understood 
much  better  without  a  rolling  of  the 
eyes  to  distract  attention  that  should 
be  centered  on  the  words." 

Now  will  yon  go  home  and  practice 
that?  Rules  are  all  very  good,  hut 
then  i   that  certain   motivating 

force  behind  them.  Unless  you  were 
horn  that  way.  I  defy  you  to  Study 
yourself  up  to  the  acting  standard  of 
Walter  Huston  -one  of  the  swellest 
performers  among  stage  people. 


Fifteen    Hats   at   Once 

From  page  J.> 


A  man  at  the  udio 

groaned  when    I  about   Lillian 

Roth.     "She's  a  clever  kid.  but  aw- 
fully tough  to  handle."     And  when  I 

him  for  detail-  he  admitl 
"Well,  she  hasn't  pulled  any  tempera- 
ment yet.  hut   word   came   from   the 
:  that  she  was  hard  to  man: 
Maybe  she  n't  know.     But 

that  she  is  trying  har 
please   and   that   a  lanation 

"he  air  and  earn  her  un- 
dying gratitr 

Her  mother  always  kept  her  from 
mingling  with  her  fell  ers  very 


much.     She  didn't  want  her  to  grow 
theatrical.      Perhaps    that    is    what   is 
the   matter.      She   hasn't    that    expan- 
friendlii  pected   of    - 

But  Lilliai  il  in  her 

four-  :'  battling  for  a  1 

in  the  publi  Maybe  she  will 

learn  studio  diplomacy,  without  hav- 
-  individuality  crushed  in 
the  proo 

But  even  will 

I   right   if  only   ; 
like  her  v  igh  and  show  it. 


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Madame  Corda  played  the  Grecian 
charmer  in  "The  Private  Life  of 
Helen  of  Troy,"  a  picture  whose 
story  was  as  light  and  amusing  as  the 
backgrounds  were  magnificent.  Some 
of  the  settings  were  as  gorgeous  as 
those  in  "The  Thief  of  Bagdad,"  and 
Madame  Corda's  costumes  cleverly 
combined  the  historic  accuracy  which 
must  accompany  such  a  film  with  its 
fantastic  and  flippant  qualities. 

Mention,  too,  should  he  made  of 
Libyan  Tashman's  inevitable  sartorial 
perfection.  Miss  Tashman,  always 
the  svelte  polished  siren,  never  fails 
to  dress  her  role  with  swanky,  un- 
questionable  correctness.  Lilyan's 
sleek,  waved  coiffure,  so  much  a  part 
of  her  personality,  and  her  clinging 
gowns  and  wraps,  never  fail  to  con- 
tribute  to  her  sharp-edged  characteri- 
zations. 

The  decorative  Myrna  Loy  had 
three  of  the  biggest  roles  of  her  ca- 
reer recently  in  "The  Desert  Song," 
"The  Squall,"  and  "The  Black 
Watch,"  in  which  she  was,  respec- 
tively, Azxirl,  Nubi,  and  Yasmani. 
Particularly  in  the  latter  role  did  Miss 
Loy  bring  out  all  the  lure  which  is 
hers.  As  the  strange  mystic  of  the 
Afghan  hills,  she  fairly  languished  in 
the  sleepy  witchery  of  the  East.  Miss 
Loy,  aside  from  giving  an  exception- 
ally good  performance,  fascinated 
every  one  with  her  beauty.  The 
gypsy  garb  and  disheveled  hair 
strengthened  her  role  in  "The 
Squall." 

Stars  who  usually  play  modern 
girls  like  Joan  Crawford,  Clara  Bow, 
Marie  Prevost,  Olive  Borden,  and 
Anita  Page,  must  dress  always  a 
month  or  two  in  advance  of  the  styles. 
Thev  must  wear  something  original 


and  eye-catching  in  gowns,  hats,  and 
accessories.  Their  pictures  must  be 
as  authentic  a  style  forecast  as  the 
bulletins  from  Paris.  The  last-min- 
ute frocks  these  girls  introduce  in 
their  films  are  winning  for  Holly- 
wood the  reputation  of  becoming  a 
fashion  center.  Constance  Talmadge 
is  credited  with  originating  the  Char- 
lot  necklace,  the  heavy  band  which 
has  been  worn,  in  various  adaptations, 
ever  since.  Connie  and  Nita  Naldi 
were  among  the  first  to  sponsor  that 
and  the  jeweled  hat  ornaments  in 
bizarre  designs  which  have  been  con- 
sistently popular.  Gloria  Swanson 
popularized  modernistic  costume- 
jewelry  with  thfe  striking  examples 
she  wore  in  "The  Love  of  Sunya." 
The  flexible  gold-and-wood  jewelry, 
first  used  by  the  stars,  were  intro- 
duced a  few  weeks  later  in  smart 
shops.  The  players  must  always 
keep  one  eye  open  for  some  novelty 
to  introduce  to  a  waiting  following. 

So  you  see  what  an  important  ef- 
fect a  star's  wardrobe  and  appear- 
ance has  to  do  with  a  role,  what 
power  it  may  add,  and  the  reaction  it 
may  have  upon  the  audience.  The 
ladies  of  films  have  an  innate  talent 
for  making  themselves  as  charming 
as  possible  in  their  roles,  adding  to 
appropriateness  the  bright  finishing- 
touches  of  ever-piquant  Hollywood. 
Seldom  does  a  role  leave  anything  to 
be  desired  from  a  sartorial  stand- 
point ;  often  a  star's  costumes  are 
remembered  after  her  performance  is 
forgotten.  So  she  looks  to  her  clothes 
to  create  the  desired  impression,  and 
the  fan,  recalling  the  exquisite  crea- 
tions she  wore,  says,  "Wasn't  Betty 
Compson  wonderful  ?"  or,  "Billie 
Dove  was  splendid  in  that  picture!" 


The  Boulevard   Director^ 


Continued  f 

rare  illustrations,  are  never  brought 
>ut  for  Lois.  Subject  matter  is  all 
he  cares  about.  Good  books  in  cheap 
bindings  are  her  meat. 

Another  youngster  with  taste  anom- 
alous to  her  appearance  is  Lola  Lane. 
Fiction  she  buys  now  and  then,  but 
usually  she  pores  over  the  shelves  de- 
voted to  science,  psychology,  and  as- 
tronomy. De  Kruif's  "Microbe 
Hunters"  is  still  one  of  her  pet  books. 
Any  clerk  who  ventures  into  a  techni- 
cal argument  with  her  becomes  a  very 
uncomfortable  young  man.  For 
Lola  knows  her  subjects. 

Clara  Bow,  behind  roseate  glasses. 
buys  in  one  visit  a  hundred  dollars' 
worth  of  "wicked  stories."     But  she 


rom  page  83 

is  so  sweet  about  it  that  the  clerks  are 
convinced  she  is  only  a  little  girl 
afraid  of  forgetting  her  part.  Thus 
the  books  are  a  character  reinforce- 
ment. The  Costellos,  Helene  and 
Dolores,  shop  carefully  and  with 
taste.  Good  verse  and  finely  written 
prose  appeal  to  them.  Dorothy  Se- 
bastian reads  every  play  that  appears 
in  book  form,  and  knows  the  modern 
drama  intimately,  despite  her  Holly- 
wood exile.  Conrad  Nagel  always 
knows  exactly  what  he  wants  and  is 
never  "sold." 

As  you  see,  the  clientele  of  the 
Hollywood  Book  Store  is  not  only 
the  most  celebrated  in  the  world.  It 
is  also  a  very  discriminating  one. 


117 


While  Talent   Goes   Begging 


Continued  from  page  19 


you    who    >.i\s 
This  Is  Collej  ij   haw  noticed  a 

tittle  flapper  in  the  leading  role,  called 
irr,  who  looked  like  the  Clara 
air  or  five  years     -         She  has 
"It."  she  has  pep,  and  she  has  a  fresh 
tiness  that  Clara  never  had. 
But  you  rind  Sally  playing  parts  of 
small  moment  while  Clara,  like  Tat- 
a's   brook,    apparently    goes    on 
and  on  forever. 

This  article  is  in  no  way  intended 


a   reflection  on   those   fortunatea 

who  have  made  the  grade.  In  almost 
every  case  the)  are  fully  entitled  to 
the  success  they   have  achieved. 

But  it  is  a  sad  commentary  on  the 
fact  that  look>  and  ability  are  often 
not  enough— and  talent  frequently 
ging. 

Wiser  men  than  1  have  remarked 
that    this   business    is    not    only   a    sad 

and  funny  one.  hut  it  is  a  heartbreak- 
ing one  at  Lx 


Sauce  for  the   Public 

ntinued  from  page 


Th  -  a  time  when  the  pub- 

licity  copy   oi    two   such   exuberant 
spir-  and  Lupe  \ 

dd  have  been  severely  expurgated 
by  the  from  office,  before  being 
deemed  -  the  mails — or  more 

□ally,  perhaps,    for  the   females. 
We   are    more    daring    these    days. 
cdy  an  interview  with  either  of 
these  young  ladi-  -         s  1     press  that 
liberally    peppered     with    pro- 
fanity.   Both  have  a  gift  for  strong, 
racy    language    that    would    make    a 
mule   skinner   turn    blue   around   the 
ears    f-rom    sheer    envy.      It    seems. 
that  Clara's  blurb  writers 
lean  backward  in  their  efforts  not  to 
tewash    any    of    the    little    girl's 
quaint  vulgarities,  and  the  same  might 
be  said  for  Lujx-.     So  different  from 
the  lavende"  -lace  days! 

Lupe    is    appropriately    served    up 


with  chili  sauce  on  all  occasions.  She 
has  been  hailed  from  the  first  as  the 
.Mexican  tamale,  hut  to  some  of  us 
familiar  with  other  dishes  of  the 
them  republic  -he  seems  more 
like  an  enchilada.  The  real  Mexican 
enchilada  bears  but  slight  resemblance 
to  the  one-tenth-of-one-per-cent  ver- 
sion of  it  which  finds  favor  in  the 
State-. 

This  toothsome  morsel  is  a  fried 
corn  pancake,  or  tortilla,  wrapped 
around  a  filling  of  sturdy  goat-milk 
cheese  and  minced  onion.  There  is 
nothing  retiring  about  either  of  the 
last-named  ingredients.  Swimming 
in  red-hot  chili  gravy,  the  enchilada 
is  not  a  dish  for  a  shy  feeder.  But 
once  you  have  acquired  a  taste  for  it 
— and  your  constitution  permits — 
you  hail  its  appearance  on  the  menu 
with  a  sort  of  shuddering  delight. 


What  the  Fans  Think 

ntinued  from  page  114 


him  cred  I  own  polished  per- 

formance,  you    are    making  life   a    rather 

:irro. 
I   have   never   seen   him   looking   lilt 
"whipped    puppy."      For   the    pnrj 
a   film,   he   cai  !    a    little 

very  natural,    for  all   men, 
have  that  look     There  is  nothing 
:iake-up,    facial    or 
.1!      And    if    you    mu;t    connect    him 
— call  him  a  th  id. 

I  did   not  -   to 

it   twice,   ju't    for 
the   sake   of   seeing    Ramon   in   the   church 
The    amazed    agony    and    entreaty 
of   hi  -    Priscilla's   betrothal    was 

made  public    was   a  masterpiece  of   acting 
that  I  never  5ha11  forget 

MuaiEL  Graham. 
Ingleholm.  Xorth  Berwick, 
I  and. 

Traitor  to  the  Hero. 

praise  the  charm 
of  >.  leman,  nor  to 

argue  wl  ;i  i-,  an  artist, 

or  .''.  White  pa 

arry 


Gary" — themc->om,'  writers  please  not'        I 
like  them  both,   I  am  a  movie    fan,   not  a 
census    taker.      But    I    am    writing    to    ap- 
plaud a  villain  of  a  Ruth  Roland  serial  of 
ago. 
I  never  told  the  other  youngsters  I  was 
tly  a   traitor   to   the   !i<  ro,    never    wit- 
.t;    the   la-t    episode   because   of   the 
c<  rtain  mine  disaster,  Rood,  fire,  or  famine 
that    would    overtake    and    snuff    out    the 
scoundrel'-    life,    and    leave    the    hero    and 
heroine  facing  a  rosy  -unset! 

In  the  man  nee   I   have  caught 

glimpses  of  him — drinking  a  cocktail  in  a 
drawing-room  scene,  a   lawyer,  a  mounted 
policeman,    a    bootlegger,    thin    a-    an    in- 
tor  of  an   Indi  ition  in  "Ri  d- 

-kin."    as    tin  i    in    "Moran    and 

Mack."   a    picture    wiih    Sharon    Lyni 
an    officer    in    headqu 
Coo] 

Small  part-.,  but  capable  and   intelligently 
played.     '  'larmiti;.'  voice. 

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118 


Chelsea  House 


The  Brand  of 


Good  Books 


The 

Front-page 

Girl 

By   Jack   Bechdolt 


Now,  the  city  room  of  "a  news- 
paper is  about  the  last  place  in 
the  world  to  look  for  romance. 
Newspaper  men  are  notoriously 
hard-boiled,  or  at  least  they  like 
to  give  the  impression  that  they 
are.  They  would  have  you  be- 
lieve that  they  have  seen  so  much 
of  life  that  it  no  longer  holds  any 
mysteries  for  them.  When  a 
newspaper  man  comes  in  the 
door,  love  is  popularly  supposed 
to  fly  out  of  the  window. 

Nevertheless  and  notwithstand- 
ing, love  did  somehow  manage  to 
assume  an  all-important  role  in 
the  particular  newspaper  which  is 
featured  in  this  unusual  and  fast- 
paced  novel — love  and  its  black 
shadow,  jealousy.  Here  is  a  story 
that  moves  with  the  breath-taking 
rapidity  of  the  news  itself.  It's 
the  story  of  a  girl,  sick  of  the 
quiet  of  a  little  town,  who  comes 
to  New  York  to  plunge  into  the 
hurly-burly  of  metropolitan  life 
at  its  very  heart.  How  she  makes 
good,  and  what  happens  in  the 
making  are  told  by  Jack  Bechdolt, 
himself  an  experienced  news- 
paper man,  in  magnificently  mov- 
ing style.  "The  Front-page  Girl" 
is  a  real  headliner. 


HELSEA  HOUSE 
PUBLfflEfg 


A  Confidential  Guide  to  Current  Releases 

Continued  from  page  05 


79-89  SEVENTH  AVE. 
«IW  YORK  CITY 


Russian  mood,  choruses,  mobs,  and 
dances.  Dazzling  production  will  com- 
pensate for  rest  that  makes  a  film. 
ginger  moves  crowd  to  riot  and  pillage. 
Bernice  Claire's  pretty  singing  does  it. 
Alexander  Cray,  Noah  Beery,  Alice 
Gentle,    Inez   Courtney. 

"Big  Pond,  The"— Paramount.^  Mau- 
rice Chevalier,  almost  songless.  French- 
man brought  to  this  country  by  chew- 
ing-gum king  to  show  him  up  and  break 
romance  with  American's  daughter. 
What  does  he  do  but  show  our  boys 
how  to  make  gum,  and  win  the  girl, 
too?     Voilal     Claudette  Colbert  good. 

"Double  Cross  Roads" — Fox.  Excel- 
lent crook  picture,  finely  acted  by  Lila 
Lee,  Robert  Ames,  Montagu  Love,  Ned 
Sparks.  Edythe  Chapman.  Gripping 
plot,  nicely  sustained  suspense.  Con- 
vict tries  to  reform,  falls  in  love  with 
decoy  planted  by  master  criminal.  In- 
telligent  throughout. 

"Divorcee,       The"  —  Metro- Goldwyn. 

Norma  Shearer's  performance  of  the 
"Ex-wife,"  as  the  novel  was  called,  finely 
capable,  yet  superficial.  Skirts  the  ris- 
que, but  even  a  child  could  see  through 
thinly  disguised  implications.  Chester 
Morris,  Robert  Montgomery,  Florence 
Eldridge,  Mary  Doran. 

"Man  from  Blankley's,  The"— War- 
ner. John  Barrymore  in  broad  farce, 
as  nobleman  taken  for  a  hired  "guest" 
to  fill  in,  because  he  becomes  drunk 
and  gets  into  wrong  house.  Emily  Fitz- 
roy,  Loretta  Young,  the  latter  turning 
out  to   be  the  visitor's  old  sweetheart. 

"High     Society    Blues"— Fox.      Two 

screen  darlings  in  picture  that  cannot 
be  taken  seriously — nor  their  singing. 
Unreal,  infantile  effort,  with  none  of 
the  old  Janet  Gaynor  and  Charles  Far- 
rell.  Hedda  Hopper,  William  Collier, 
Sr.,  Lucien  Littlefield,  Louise  Fazenda. 

"Hell  Harbor" — United  Artists.  Lav- 
ish display  of  movie  making,  but  lack- 
ing in  real  interest,  making  it  routine. 
Moviesque  "child  of  nature,"  Lupe 
Velez,  about  to  be  bartered  bride  of 
reprobate,  saved  by  handsome  Ameri- 
can, John  Holland.  Realistic  acting  by 
Jean   Hersholt,    Gibson    Gowland. 

"Journey's  End"— Tiffany.  Faithful 
reproduction  of  outstanding  stage  war 
play.  Devoid  of  love  interest  and  dra- 
matic formula  of  screen,  but  strangely 
revealing  life  in  a  dugout.  Cast  in- 
cludes Anthony  Bushell,  Charles  Ger- 
rard,  Billy  Bevan,  Colin  Clive,  Ian  Mac- 
laren,  David  Manners. 

"Case  of  Sergeant  Grischa,  The" — 
RKO.  A  Russian  peasant  is  ground 
beneath  the  German  war  machine.  Ear- 
nest story  made  unconvincing  by  med- 
ley of  accents,  and  Chester  Morris  too 
alert  for  doomed  peasant.  Betty  Comp- 
son,  Alec  B.  Francis,  Gustav  von  Seyf- 
fertitz,  Jean  Hersholt. 

"Lady  To  Love,  A" — Metro-Goldwyn. 
Vilma  Banky's  first  all-talking  effort  is 
admirable.  A  grape  grower  picks  a 
waitress  for  his  wife,  sends  her  a  young 
man's  photo  as  his  own,  and  things  hap- 
pen. Edward  G.  Robinson  brilliant, 
Robert  Ames  satisfactory  as  young  man. 

"Puttin'    On    the    Ritz"— United    Art- 


ists. Technicolor  sequence.  Story  of 
vaudeville  singer  who  makes  good  as 
night-club  proprietor.  Some  clever 
staging,  routine  story  of  man  who 
atones  for  sins  by  alcoholic  blindness. 
Joan  Bennett,  Lilyan  Tashman,  Ailcen 
Pringle,  James  Gleason  steal  show  from 
nominal  star,  Harry   Richman. 

"Son  of  the  Gods"— First  National. 
Well-directed  story,  with  Richard  Bar- 
thelmess  as  foster  son  of  Chinaman, 
believed  Chinese  himself.  Society 
woman — everybody  meets  the  Four 
Hundred  in  films — horsewhips  him  and 
then  loves  him.  Then  he  turns  out  to 
be  white.  Constance  Bennett,  Frank 
Albertson. 

"Lummox" — United  Artists.  Wini- 
fred Westover's  touching  portrayal  of 
a  kitchen  drudge's  lifelong  fight  for  vir- 
tue, with  one  error,  one  betrayal,  and 
finally  a  cozy  haven.  Big  cast,  all  do- 
ing well.  Dorothy  Janis,  Ben  Lyon, 
William  Collier,  Jr.,  Edna  Murphy,  Sid- 
ney Franklin. 

RECOMMENDED— WITH 
RESERVATIONS. 

"Bad  One,  The"— United  Artists.  An- 
other of  those  pictures  in  which  the  bad 
girl  is  really  and  truly  a  good  little  girl 
just  being  cute,  you  know,  even  though 
an  inmate  of  a  dive.  Dolores  del  Rio's 
debut  in  all-talking  film.  Edmund  Lowe, 
minus  uniform,  much  himself.  There's 
a   murder   charge   and   a    flight. 

"One  Romantic  Night" — United  Art- 
ists. Lillian  Gish's  long-delayed  talkie 
debut  adds  nothing  to  the  glory  of  Gish 
or  screen.  Reminds  one  of  church  the- 
atricals. Incident  in  life  of  stuffed  royal 
robes  and  uniforms.  Rod  La  Rocque, 
Conrad  Nagel,  Marie  Dressier,  O.  P. 
Heggie. 

"In  Gay  Madrid"— Metro-Goldwyn. 
Neither  gay  nor  in  Madrid,  it  is  a  col- 
lege-campus film  supposed  to  be  a  chap- 
ter in  the  life  of  a  gay  young  chap 
whose  many  loves  make  up  his  educa- 
tion. Ramon  Novarro,  Dorothy  Jor- 
dan, Lottice  Howell,  and  numerous 
others. 

"Redemption"— Metro-Goldwyn.  Tol- 
stoi's "Living  Corpse,"  without  philoso- 
phy and  analysis  of  character,  is  thin 
remnant,  not  compensated  by  John  Gil- 
bert's acting.  Hero  falls  in  love  with 
fiancee  of  friend,  marries  her,  later  pre- 
tends suicide  so  wife  can  marry  his 
friend.  Eleanor  Boardman,  Renee 
Adoree. 

"Ship  from  Shanghai,  The" — Metro- 
Goldwyn.  It  carries  a  cargo  of  ranting. 
Steward  gains  control  of  ship,  starves 
the  men,  "leers"  at  the  leading  lady. 
Just  before  the  great  sacrifice,  heroine 
cries,  "You're  mad!"  and  the  poor  nut 
leaps  overboard  to  death,  and  the  girl 
is  saved  from  a  "fate  worse  than  death." 
Kay  Johnson,  Louis  Wolheim,  Conrad 
Nagel,  Carmel  Myers. 

"Captain  of  the  Guard" — Universal. 
Bombastic  and  dull,  yet  pretentious 
story  of  French  Revolution.  Laura 
Plante  as  leader  of  rebel  group.  Johr 
Boles  pleasing  singer  but  inadequate 
actor.  One  big  scene  not  enough  tc 
lift  childish  operetta. 


119 


Information,   Please 

Continued  from  page  102 


Wfary    River. — I    hope    you've    had    a 

vacation  since  you  wrote,  so  you 

won't  be  so  weary  now.     Hedda  Hopper 

\\..~     nee  married  to   De   WoH    Hopper; 

Jut  maiden  name  was  Furry.     The  Count, 

in  "; :  -      S  ,\.in  played  by 

May     McAvoy    retired 

from   the  upon    her   marriage   to 

ry   in  June,   1929.     Adolphe 

Menjou's    wife   is   Catherine   i  ..- 

Suni  So     BePfo,    in     "The    Devil 

Dancer,     was   a  monke)  ?     .hist  male 
mor.-.  me,  I  suppose,  because  he 

;  t    listed    in    the    cast       See 
e    Lee    was    born    in    Harriman,    Ten- 
•1     th(  re,    and 
school  in  New  S  le  fin- 

ished her  schooling  in  Chicago,  where 
her  parents  moved  m  1925.  In  1928 
won  a  singing  contest  at  the  Hotel  Sher- 
man: then  she  sang  professionally  at  the 
College  Inn.  She  joined  the  road  corn- 
News"  and  later  played 
in  the  New  York  production   of   it 

discovered  by   a   Fox   executive;   her 
first   film  was  a  Clark-McCullough 
called  "Knights  Out":  then    T\  x    V 

if  this  I 
learn  from  Juliette  Sylvain.  who,  like 
yourself,  corresponds  with  Dixie.  I'm 
afraid  many  fan  clubs  I  am  asked  to  re- 
cord are  started  quite  unofficially,  but  I 
have  no  way  of  sorting  the  wheat  from 
the  chaff.  John  Barrymores  film,  "The 
Beloved  Rogue,"  and'  "The  Vagabond 
are  both  based  on  the  life  of 
Francois  Villon.  The  two  authors  merely 
drew  from  the  same  source  for  their  ma- 
terial. 

E.  X.  Silva.  Jr.— I'll  be  glad  I 
your    Barry    Xorton    club.      Though    they 
bear  different  surnames,  it  must  hav» 
David   S'narpe  who  played   I  >'Bri- 

en's    brother    in    "Masked    Emotions."      I 
can't    tell_  by    my    synopsis    who    played 
"Larry    Kent's    brother-in-law    to    be"    in 
:h." 

Nancy  Xooxax— Your  barrage  of 
questions  puts  me  right  back  in  school 
\\:th  an  examination  paper  before  me. 
John  and  Fay  Wray  are  not  related.  Lola 
and  Xora  Lane  are  not  Pert  Kel- 

ton  has  never  been  a  star.     Inez  Courtnev 
made  a   hit   on   the    stage   and   plaved   on 
the  screen  in  "Loose  Ankles.'    "Not  Dam- 
aged." "Song  of  the  Flame,"  and  "Spring 
Is    Here."      Gary    Cooper    is    said    to   be 
zed  to  Lupe  Velcz.    Be"i.    Love  mar- 
ried   William    Hawks,    brother    of    Ken- 
neth,    Mary    Aster's     husband    who    was 
Mary-   Brian   was   born   in   Texas. 
She    won   a   beauty  contest    in    Los    An- 
ch    got    her   an    engagement    in 

tan   Theater.     She  attracted 
:on     and     was     given     the     role    of 
fy  in   "Peter   Pan."     Esther  Ra 
and    Betty    Bronson    also    ro-c    to    promi- 
nence   in    this    picture.      Gr 

Ann    Harding    is    married    to 
ictor      "  r.bl>- 

•na   Shearer  was   expecting 
a  baby:    it    had    not    yet    arrived    when    I 
'  about  it  some  months  ago. 
'   rilyn   Miller's   next   picture- 
after 

MP  Geraci.— Thanks    for  the  infor- 
Dixie    Lee :    I    will    r 
your  fan  club  in  her  honor. 

P.  H.  M — You  needn't  be  bashful  about 
•mery    at     V 
ture.    That  office  I 
care  of  all  th'  fan  mail,  and  Rob- 


ert will  not  even  see  it.     If  you're  only 

en,    1    suggest   that  you   finish   school 

before  trying  to  get  into  movie-.     You're 

too  young  for  a  juvenile  and  too  old  for 

a  child  actor. 

Elizabeth  Blake, — Everything  I  know 
about    Ruth   '  •.   that   hasn't   been 

published!  After  the  thousands  of  words 
on  the  subject,  hasn't  it  all  been  said  yet? 
Her  parents  are  .-till  living  in  New  York 
City.  She  toured  with  almost  all  her 
later  plays  in  "all  the  larger  cities,"  her 
biography  which  probably  includes 

Louis.  Her  last  New  York  plaj  u.i- 
"The  Little  Minister."  She  played  "The 
Devil's    Plum    Tree"    in    Los    Angeles    and 

was   seen   by    Emil    Tannings,   who  asked 

for  her  in  his  picture  "Sins  of  the  Fa- 
thers." Thus  her  screen  career  began, 
Ralph  Forbes  i<  her  first  and  only  hus- 
band. She  has  lived  in  California  about 
three  years.  Yes,  Arthur  Rankin 
nephew  of  the  Barrymores — a  great- 
nephew,  I  believe.  That  whole  l'.arry- 
more-Drew-Rankin-Davenport  stage  fam- 
ily arc  all  related,  but  it's  all  too  involved 
tor  me  to  know  the  exact  gt  Ar- 

thur's real  name  is  Arthur  Rankin  Daven- 
port. Ethel  Barrymore  made  pictures 
years  ago.  but  I  think  her  screen  days 
are  over  now  John  Barrymore  also  had 
a  daughter,  Diana,  when  he  was  married 
to  Michael  Strange. 

A       ONF-lUNDRKn-rKR-CFNT       T.U.KIE. 1 

hope  you're  referring  to  the  movies  rather 
than  yourself.  I  don't  know  what  my 
job  has  to  do  with  how-do-you-get-into- 
the-chorus  on  the  stage.  Naturally,  New 
York  has  better  opportunities  for  that ; 
you  don't  say  what  city  you  live  in,  so 
I  don't  know  whether  stage  companies 
are  ever  recruited  there.  Occasionally  a 
man  gets  a  stage  job  when  some  one  leaves 
the  cast  on  the  \s  to  "who  is  John 

Harron?"  all  I  can  say  is  that  he'*s  an 
actor,  born  in  New  York  City,  brother  of 
the  more  famous  Bobby  Harron,  former 
Griffith  player,  who  died.  Richard  Gal- 
-  doesn't  give  his  age. 

Me.  Myself,  and  T. — Well,  you  seem  to 
demand  three  times  your  share  of  space 
for  answers.  What  "do  vou  mean,  what 
is  Ronald  Colman?  Shall  I  call  him 
names,  or  tell  the  truth  and  say  he's  an 
llent  English  actor?  Many  of  vour 
questions  arc  answered  elsewhere  on  this 
page.  Robert  Montgomerv  was  born  in 
Bca.  York,  May  21.  1904.     'The 

Big    I  aid   "Our  Blushing    Br 

follow   "The   Divorcee."     Chester    Morris 
was    born    in    Xew    York",    February    16, 
1902.      Chevalier    is    making    "The    Little 
to    follow    "The    Big    Pond."      To 
join    the   Robert    Montgomery   club,    write 
Jackson,  Jr..  485  Wabash  Avenue, 
Apartment  10,  Atlanta,  Georgia.     \\" 
Rudy    Yallee    makes    any    more    picture- 
depends   upon    how   much    money   his    fir-t 
one    make* — I    believe    it's    not   doin 
well.     Paul  Page  is  twenty-seven  and  mar- 
to   Edith   All!-.     Y,  -.    Hoot    Gibson 
and   Sally   Filers  are  married.     II 
married    twice    before;    both    wives    were 
named  Helen. 

Pi  -thy  Mackailfs  picture, 

•' 
lent   film, 

MuBJKL   Graham — X 

Ut   Ramon's  voice — 

d    to.      In   the 
place,  nglish   practically   with- 

•t;    in    the    second,    hi 


f 


Who  else  wants'1 

BIG 
MUSCLES 

and  a  handsome, 
^healthy  body ?^ 


(Prom  a  rr<rnf 
CJiarlei    Atlas 


/ 


CHARLES 

ATLAS 

'World's    \to<t  Perfectly 

I  >      .  topvd  Mtm" 


TELL  me  where  YOU 
want     big,     powerful 
muscles — tell  me  how- 
many     added     pounds     of 
firm,    smooth    flesh    YOU 
want  distributed  over  your 
body— tell      me      if      YOU 
want      the      vitality,      pep,     I 
strength  and  splendid  bodi- 
ly  condition   that    wins   for      M 
a  fellow  the  admiration  of      1M 
every   woman   and   the   re-        V 
spect  and  envy  of  any  man.         *£ 
"Then  let  me  PROVE  that      1 
my  amazing  secret  of  Dynamic-      \ 

Ttntion   WiU    nuke    thi  -    MW  man     ol 
— right    In    your    own    home,     using 
your    leisure    iluie.    without    tpparatu 
"machinery"   of   any   kind,    without   n 
<"*•■.  'nit    or    doctoring    your- 

seir.     but     purely     by     tho   natural    mi 
or    my    system    of    r>ynami<~Ten*> '<  • 

"I.     '  of     the     below  p 

Then     I     developed     and     u<ed     tin   ■ 
that     I     now:    offer     to    reveal     to     \ 
self-iamc     methods     built     me     up     n 
pound,     flat-chested,     skinny,     no-mu 

to     the     figure     of     health,     strength 
powerful,     balanced     muscular     dcrelopmcnt     that 
you     aee     In 

the    title    of     'The     World's     Most     Perfectly     Dc- 
veloped    Man.' 

Accept  this  book  FREE 

rid — hare   uaed 

■   u     can.     too! 
-     and    these 

■ 

build-up     aa  outside,     ai.  I 

irsclf   of    shameful    ailments    am 

n    that 
rilMtl 

•  Charles    Atlas    (Dept.     1610) 

.     133    East   23rd   Street.    N. .    V»rk   City  : 

I  nil  f    n  ,n   ■ .        I 

i     Trniioe    will    rl<>  ; 

I 

■  "Everlasting     Hralth    and    Strength  "  , 

1  I 

• 
i 

| 

I  J 

•  <  Pleas*    print    .r    write    plainly 


120 

also.  Novarro  is  not  Mexican  in  the  peon 
sense,  but  comes  of  a  good  Spanish  family 
oi  Mexico.  Rex  Ingram  i>  living  on  the 
Riviera  because  he  likes  it,  and  Alice 
Terry  has  let  herself  get  fat,  because  she 
is  through  with  the  screen  and  just  wants 
to  be  comfortable. 

T.  E.  Clews. — Buster  Keaton  can  smile 
as  well  as  any  one.  That  sour  visage  is 
just  part  of  his  make-up,  like  Harold 
'Lloyds  glasses.  Eddie  Quillan  is  twenty- 
three.  His  films  are  "Show  Folks,"  "God- 
Girl,"  "Ceraldine,"  "Noisy  Neigh- 
bors,"  "The  Sophomore,"  and  "Night 
Work." 

G.  E.  W. — Its  a  treat  to  get  a  few 
nice,  short  letters,  like  yours.  Very  few 
stars  receive  their  own  fan  mail,  as  it 
comes  in  such  volume  a  secretary's  entire 
time  is  required  for  it  Dixie  Lee  writes 
to  her  admirer^;  Ben  Lyon  and  John 
Boles  are  both  very  interested  in  their 
fan  mail. 

Theresa  Soave. — The  movies  seem  to 
have  talked  George  Lewis  out  of  his  ca- 
reer! George  was  born  December  10, 
1904.  He  has  black  hair  and  brown  eyes, 
is  six  feet  tall,  and  weighs  175.  He  mar- 
ried Mary  Lou  Lohman,  March  23,  1928. 

Ann  J.  O'Shea. — Your  list  of  Novarro 
films  is  so  complete  you  must  have  been 
working  at  it.  The  only  ones  you  missed 
are  "Trifling  Women,"  "A  Certain  Young 
Man,"  "Forbidden  Hours,"  and  "Devil- 
May-Care."  Since  Ramon  is  the  eldest 
of  ten  brothers  and  sisters,  it  would  be 
quite  a  feat  for  me  to  know  all  those 
Mexican  names !  Yes,  two  sisters  are 
nuns — no  priests  in  the  family  as  far  as 
I  know.  His  mother's  maiden  name  was 
Novarro.  No,  he  was  not  in  the  World 
War.  Being  Mexican,  why  should  he 
have  been?  "The  Singer  of  Seville" 
should  be  finished  by  the  time  this  is  in 
print.  Articles  about  Ramon  were  pub- 
lished in  Picture  Play  for  March  and 
August,  1930. 

Mackaill  Mad. — But  don't  get  madder 
if  I  fail  to  answer  all  your  questions, 
which  would  require  enough  space  for 
you  and  three  other  fans.  Dorothy  Mac- 
kaill has  hazel  eyes  and  is  five  feet  four 
and  a  half.  That's  her  real  name.  Since 
"Hard  to  Get,"  she  has  appeared  in  "The 
Great  Divide,"  "Strictly  Modern,"  "A 
Very  Practical  Joke."  She  married 
Lothar  Mendez  in  New  York,  in  1926, 
and  was  divorced  in  1928.  Malcolm  Oet- 
tinger's  story  about  her  appeared  in  an 
edition  now  out  of  print.  "The  Lotus 
Eaters"  was  released  about  ten  years  ago. 
Colleen  Moore  played  in  that  with  John 
Barrymore.  Henrietta  Brunsman,  59  Illi- 
nois Avenue,  Dayton,  Ohio,  has  charge  of 
a  Norma  Shearer  club.  The  Wampas 
Stars  of  1924  were  Clara  Bow,  Elinor 
Fair,  Carmelita  Geraghty,  Gloria  Grey, 
Ruth  Hiatt,  Julanne  Johnston,  Hazel 
Keener,  Dorothy  Mackaill,  Blanche  Me- 
haffey,  Margaret  Morris,  Marian  Nixon, 
Alberta  Vaughn,  and  Lucille  Ricksen. 
The  principals  in  "Exit  the  Vamp"  were 
Ethel  Clayton  and  T.  Roy  Barnes. 
Michael  O'Fialloran  was  played  by  True 
Boardman,  with  Ethelyn  Irving  as  the 
girl.  Irene  Rich  was  Mrs.  Mlnturn;  Bill 
Boyd  had  a   small   part. 

A.  J.  B. — Alice  Joyce  was  born  in  Oc- 
tober, 1890.  She  has  brown  hair.  She  is 
Mrs.  James  Regan  and  has  two  children. 

E.  J.  IIayward. — I  am  very  grateful  for 
your  information. 

Tina   Gordon. — E.    J.    Hayward    writes 

in    "The    Desert    Song,"    which    you 

a~kcd    about,    "One    Flower    That    Grows 

in    Your    Garden"    was    sung    by    Robert 

Guzman  and  Otto  Hoffman. 


Information,  Please 

French y. — Jascha  Heifetz  is  a  marvel- 
ous violinist,  but  he  has  nothing  to  do 
with  movies.  However,  I  believe  he  and 
Florence  Yidor  live  at  277  Park  Ave- 
nue, New  York,  if  that  information  is  of 
any  use  to  you.  Florence  has  retired  from 
the  screen.  Her  daughter,  Suzanne,  is 
about  eleven  and,  I  assume,  lives  with  her 
mother.  Miss  Zelda  Raphael,  128  Fort 
Washington  Avenue,  New  York  City,  lias 
a  fan  club  in  honor  of  Lila  Lee  and  sev- 
eral other  players. 

The  Y's  Boys. — So  you're  all  smitten 
with  Catherine  Dale  Owen,  the  heroine 
of  "His  Glorious  Night"!  She  was  born 
in  Kentucky,  but  doesn't  say  when,  and 
was  well  known  on  the  stage  before  be- 
ginning her  screen  career.  Since  that  film 
she  has  played  in  "The  Rogue  Song," 
"Such  Men  Are  Dangerous,"  "Born  Reck- 
less," and  "Ctrictly  Unconventional." 

Just  a  Kid. — That  red-headed  Charles 
Bickford  is  certainly  coming  along.  He's 
married,  but  I  don't  know  further  particu- 
lars about  the  Mrs.  He  was  on  the  stage 
about  five  years.  On  the  screen,  he  has 
played  in  "Dynamite,"  "Hell's  Heroes," 
"South  Sea  Rose,"  "Anna  Christie,"  and 
a  sea  film  he  is  now  making  for  Metro- 
Goldwyn,  to  whom  he  is  under  contract. 
For  the  rest,  see  M.  M. 

Ambitious. — Almost  too  ambitious,  ex- 
pecting an  answer  in  the  issue  of  Pic- 
ture Play  which  comes  on  the  stand  two 
weeks  after  your  letter  was  written.  As 
to  auditions  for  Vitaphone  numbers,  I 
think  they're  usually  arranged — when  one 
is  unknown — by  a  friend  who  has  a  friend 
in  the  studio.  That  kind  of  thing.  As 
to  where  the  nearest  place  to  you  for  an 
audition  is,  how  can  I  tell,  since  your  let- 
ter gives  no  clew  to  where  you  live?  If 
you  broadcast,  perhaps  some  one  around 
your  radio  station  would  have  a  possible 
movie  or  recording  connection. 

Miss  Dorothy  Rogers,  2916  National 
Avenue,  Detroit,  who  describes  herself  as 
a  "Crawford  maniac,"  would  like  to  hear 
from  others  similarly  enthusiastic  about 
Joan — particularly  "The  Girl  Who  Wor- 
ships Joan  Crawford,"  whose  letter  was 
answered  recently  in  these  columns. 

A  Crawford  Maniac. — But  why  take  it 
so  hard?  Joan  was  born  a  Cassin,  but 
took  her  stepfather's  name  of  Le  Seuer. 
Her  birth  date  was  March  23,  1906;  she 
is  five  feet  four,  weighs  120,  and  has  blue 
eyes.  Her  hair  was  brown  before  she 
started  experimenting  with  color.  Her 
next  film  is  "The  Great  Day." 

J.  S.  H. — So  you're  making  a  huge 
scrapbook  with  hundreds  of  pictures  in  it? 
Weill,  that's  more  fun  than  collecting 
stamps,  isn't  it?  Wampas  Baby  Stars  for 
1926  were  Mary  Astor,  Mary  Brian,  Joyce 
Compton,  Dolores  Costello,  Joan  Craw- 
ford, Marceline  Day,  Janet  Gaynor,  Sally 
Long,  Edna  Marion,  Sally  O'Neil,  Do- 
lores del  Rio,  Vera  Reynolds,  and  Fay 
Wray.  The  Wampas  guessed  pretty  well 
that  year !  The  1928  stars  were  Lina 
Basquette,  Flora  Bramley,  Sue  Carol,  Ann 
Christy,  June  Collyer,  Alice  Day,  Sally 
Eilers,  Audrey  Ferris,  Dorothy  Gulliver, 
Gwen  Lee,  Molly  O'Day,  Ruth  Taylor, 
and  Liipc  Velez.  Percentage  not  so  good. 
Polly  Ann  Young  was  born  in  Denver, 
Christmas  Day,  1908.  I  haven't  yet  got 
all  the  information  about  the  Bennett  sis- 
ters. Joan  was  born  in  1911;  Barbara  is 
several  years  older,  and  Constance,  the 
eldest,  doesn't  give  her  age. 

Louise  Brooks  Fan. — May  you  write 
again?  Why  should  you  suddenly  need 
permission,  after  all  your  letters?  I'd  miss 
you  if  you  didn't!  Louise  Brooks  was 
born  in  Wichita,  Kansas,  in  _  1909,  but 
doesn't  say  what  month.     She  is  five   feet 


two,  weighs  120,  with  black  hair  and 
brown  eyes.  Louise  has  been  making 
films  in  Germany — "Pandora's  Box"  and 
"liie  Diary  of  a  Lost  Soul."  Jacqueline 
an  was  born  in  Corsicana,  Texas,  No- 
vember 30,  1902.  She  is  five  feet  four, 
weighs  115,  and  has  auburn  hair  and  gray- 
eyes.  "Stark  Mad''  was  the  picture  in 
which  she  appeared  with  H.  B.  Warner. 
Phyllis  Haver  retired  from  the  screen  on 
her  marriage  to  William  Seaman ;  very 
few  stars  can  stay  retired,  so  time  will 
have  to  tell.  Mona  Maris  was  born  in 
Buenos  Aires  in  1910.  She  has  dark  hair 
and  blue  eyes. 

A  Colleen  Moore  Fan. — Colleen  may 
need  her  fans.  She's  not  doing  so  well 
in  talking  pictures  as  in  the  silent  ones. 
Yes,  she  and  John  McCormick  were  di- 
vorced in  May.  They  were  married  in 
August,  1923,  and  he  was  her  first  hus- 
band. Colleen  is  not  related  to  the  Moore 
brothers ;  in  fact,  her  real  name  is  Cath- 
leen  Morrison.  Her  hair  is  auburn  and 
her  eyes  arc  slightly  different  in  color, 
though  you  can  scarcely  notice  it.  Col- 
leen is  28. 

Perplexed. — The  low-down  on  Harry 
Richman  and  Clara  Bow!  That's  a  hard 
one.  As  I  understand  it,  Harry  Rich- 
man's  movie  career  was  to  be  launched  in 
a  blaze  of  publicity,  so  they  got  him  en- 
gaged to  Clara  Bow:.  Of  course,  Clara 
is  not  married,  or  how  could  even  a  phony 
engagement  be  announced?  Bill  Boyd  was 
born  in  Cambridge,  Ohio,  and  works  at 
the   Pathe  studio. 

Juliette. — A  thousand,  thousand  thanks 
for  your  very  complete  biography  of  Dixie 
Lee.  Maybe  some  time  I  can  do  as  much 
for  you. 

L.  F.  L. — You  are  another  Oracle, 
aren't  you?  Yes,  there  are  two  Roscoes, 
Alan  and  Albert.  Albert  was  born  in 
Nashville,  Tennessee,  in  1887.  He  isn't 
active  on  the  screen  just  now.  Alan  is 
somewhat  of  a  newcomer  to  pictures.  I 
don't  know  where  he  can  be  reached,  un- 
less you  try  him  at  the  Masquers  Club 
in  Hollywood,  to  which  most  film  actors 
belong,  including  your  friend  Francis 
MacDonald. 

A  Barry  Norton  Fan. — To  join  the 
Barry  Norton  fan  club,  write  to  Dorothy 
Suter,  2202  Ohio  Avenue,  Youngstown, 
Ohio. 

B.  Griffin.— L.  F.  L.,  above,  reports 
that  she  sent  a  quarter  for  her  picture  to 
Marguerite  Clark,  Patterson,  Louisiana, 
and  received  a  lovely  photograph. 

Cherry. — I  don't  know  why  Jason  Ro- 
bards  has  never  become  prominent  on  the 
screen.  However,  he  plays  on  the  stage 
in  Los  Angeles  frequently,  so  he  works 
oftener  than  you  might  suppose  from  see- 
ing his  few  pictures.  Perhaps  a  letter  to 
"What  the  Fans  Think"  might  help, 
though  I  think  producers  are  not  easily 
persuaded. 

Three  of  Tommy  Meighan's  Fans.— 
Perhaps  you're  the  only  three  left.  Evi- 
dently "The  Argyle  Case"  did  not  make 
much  money,  or  there  would  have  been 
more  Thomas   Meighan  films. 

John  B.  Snow. — Of  course  there  can 
be  two  opinions  as  to  whether  or  not  Val- 
entino had  small  eyes.  There  might  even 
be  three — some  one  might  consider  them 
medium-sized  eyes.  Anyhow,  he  was  a 
fascinating  man ;  I  agree  with  you  per- 
fectly on  that. 

A  Philadelphia  Sweetheart.— Whose 
sweetheart,  Philadelphia's?  Chester  Mor- 
ris was  born  in  New  York,  February  16, 
1902.  He  has  gray  eyes  and  dark  hair; 
his  wife  was  once  Miss  Kilborn.  Ches- 
ter's  new   film   is   "The   Bat   Whispers." 


<*r: 


121 


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Out  of  a  Paris  Studio  Ske  Came — 

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VolumeXXXIH  CONTENTS    FOR    NOVEMBER,    1930  Number  3 

The  entire  contents  of  this  magazine  are  protecti  d  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 

What  the  Fans  Think 8 

Our  famous  open  forum. 

The  Swedish  Nightingale    .         .   . 15 

A  portrait  of  Grace  Moore,  operatic  prima  donna,  as  Jenny  Lind. 

Will  History  Remember  Them?         .         .         .     William  H.  McKegg     .     16 

A  discussion  of  what  stars  to-day  will  mean  a  few  years  from  now. 

At  the  Turn  of  the  Road Edwin  Schallert     .         .     19 

After  nearly  twenty  years  of  stardom  Norma  Talmadge  voices  significant  opinions. 

It's  Smart  to  be  Thrifty Laura  Benham       .         .     22 

The  stars  demonstrate  the  wisdom  of  year-round   clothes. 

How  Lilyan  Went  Sophisticated        .         .         .     Samuel  Richard  Mook  .     24 

Miss  Tashman's  smartness  is  traced  from  the  beginning. 

26 
28 

30 
34 
35 
43 
44 
46 
49 


Suppressed   Desires      .... 

Pictures  of  some  favorite  ones  of  the  players. 

Babes  in  Hollywood    .... 

The  third  installment  of  a  fascinating  serial. 

Over  the  Teacups         .... 

Fanny  the  Fan  starts  the  fall  season. 

Lupe  Denies  All  . 

Miss  Velez  is  more  sinned  against  than  sinning. 


Inez  Sabastian 
The  Bystander 
Madeline  Glass 


Favorites  of  the   Fans         .         .         .         .         ... 

Eight  full-page  portraits  in  rotogravure. 

A  Peppy  Little  Dish Mabelle  Duke 

More  about  that  popular  newcomer,  Ginger  Rogers. 


Helen  Louise  Walker 


Maybe  You  Are  Famous?  .... 

There  are  strange  ways  of  finding  out  in  Hollywood. 

Out  of  an  English  Novel Edward  Nagle 

Phillips  Holmes  has  the  fabled  distinction  of  a  Cambridge  undergraduate. 

Wanted — Romance       ..... 

The  talkies  are  destroying  it,  says  John  Garrick. 


.  William  H.  McKegg 

.  Edwin  &  Elza  Schallert  50 

.  Margaret  Reid       .         .  54 

.  Neil  Hamilton        .         .  56 

Continued  on  the  Second  Page  Following 

Monthly   publication   Issued  by   strut    &   Smith   Publications,   Inc..   79-89   Seventh  Avenue,   New  York,  N.  Y.     Ormond  O.   Smith,   President;  George  C. 
Smith     VI.-                         rid  Treasurer;   G                   smith.  Jr.,    Vice   President;  ormond   V.   Gould.   Secretary.      Copyright,    1930,   by  Street  &  Smitli   Pub- 
New    York.  Copyright,    1930,    by    street    A.-    Smith    Publications,     Inc.,    Greal     Britain.       Entered    as    Second-class    Matter,    March    6. 
■    the    Pi       Offl  t  si  New  York,   N.    Y.,   under  Act   of   Congress  of  March   3,    187D.     Canadian   Subscription.   $2.8(i.     Foreign,   $3.22. 


Hollywood  High   Lights     . 

Peaks  of  news  in  the  talk  around  the  studios 

Oklahoma  Defies  Broadway 

And  Kay  Francis  is  the  charming  referee. 

I  Stop  to  Look  Back  .... 

Concluding  an  actor's  autobiography. 


Wo    do    not   accept    responsibility    for    the    return    of    unsolicited    manuscripts. 
To   facilitate  handling,   the   author  should    inclose   a   self-addressed   cnvclopo   with   the   requisite   postage   attached. 

STREET   &   SMITH   PUBLICATIONS,   INC.,   79  7th  AVE.,   NEW  YORK,  N.  Y. 


□  J 


lllillllillllUllllllllllUIIIIIHIIIIIIII'llllllllllllllllllllllllll 


ttmsfasBmSL 


FEET  FIRST 

HAPPY  clays  are  here  again!     Here  conies  Harold   with  a 
brand  new  bag  of  tricks  that  will  make  your  sides  ache 
with  laughter!    Fun  no  end,  thrills  galore,  action  every  second. 
C  Harold   Lloyd's  All-Talking  picture  "Feet   First."    Your 
eves  will  be  glued  to  the  screen  and  you'll  hang  on  every 
word!    More  than  a  motion  picture — an  event  the  whole 
family  looks  forward  to  with  keen  anticipation.    Get  set 
now  for  the  great  gloom  destroyer  of  1930!   Get  set 
and  go!  C  Your  Theatre  Manager  will  gladly  tell  you 
when  '"Feet    First"  is  comin"   to   voor   town*    Pro- 
dueed  h\  Harold  Lloyd  Corporation.   A  Paramount 
Helea-e.   C   "If  it's  a  Paramount   Picture  it's  the 

hrst  show  in  toumf 


I  I  M  l\!  I'.r. mount  PublU 
Itailio  Hour,  rurh  I  ur.f]o>  Kvr- 
r>ii.|f.    Hl.l.-,  i.,   I  I    P.  M.  I  a.lrrn 

I  !■■■•  .  fftf  l*w  <.nlumliiji  Itr. >.!>!- 
ra.tlnff   •"*■!»  nt. 


I  \l   \MOt  NT  PI  BLI\  CORPORATION.  ADOU'll  Zl  KOK.   PRfi 


PAHAMOINT  BLDC.,  NEW  YORK 


iiiiHHiiiiiiiiM  Contents Continued Illllil1" lilllli!l!lilllil "H"""""''""""""""''""''""'"'"''"'"""'""""!'"! iiiiHiHMf 


Romney  Scott 


The  Mystery  of  Your  Name 

The  most   unusual   department   in  any   magazine. 

They   Faw   in   Luck     ..... 

The  story  of  Laurel  and  Hardy. 

Boys  Will  Be  Coy 

Pictures  that  prove  it. 

The  Screen  in  Review  .... 

A  critical  summary  of  the  latest  films. 

A  Confidential  Guide  to  Current  Releases 

Timely  tips  on  pictures  now  showing. 

It's  Easy  to  Forget     ..... 

Harold   Lockwood,  Jr.,   finds   it   hard   sledding   in   Hollywood. 

Those   Foreign   Versions     .         .         .         .         ... 

Photographs    of   players   who    appear    in   them. 

Will  Marlene  Top  Greta?  ...         .         .     Margaret  Reid 

That's  what  the  film  colony  is  asking  about  Fraulein  Dietrich. 

Who  Knows  the  Rest?         .... 

A  short  story  of  unusual   interest. 

What  No  Star  Can  Tell Willard  Chamberlin 

The  endurance  of  popularity  is  ever  a  riddle. 

Jacks  of  Queer  Trades        .....     Myrtle  Gebhart 

The  talkies  are  responsible  for  strange  jobs. 

Information,   Please The  Oracle     . 

Authoritative  answers  to  readers'  questions. 

WHAT  A  GIRL  NEEDS  IN  HOLLYWOOD 


Monica  Andrea  Shenston  60 
A.  L.  Woodridge  .         .     63 

65 

Norbert  Lusk         .         .     66 

.  70 
71 
72 
74 
83 
84 
89 
102 


W.  Carey  Wonderly 


TO  get  along  she  needs  talent,  you  say.  That  and  beauty  perhaps, 
but  talent  first  of  all.  Weli,  you're  wrong!  There  are  thirteen 
qualifications  for  success  on  the  stage  and  screen,  and  a  girl  may  have 
only  one  of  them  and  yet  become  famous.  Of  these,  talent  is  the 
least  essential  of  all.  Charm,  personality,  ambition,  showmanship, 
sex  appeal — any  of  these  qualities  may  project  a  girl  to  the  top, 
and  to  prove  it  Samuel  Richard  Mook  submits  an  article  in  PIC- 
TURE PLAY  for  December  that  clinches  his  surprising  argument. 
Mary  Pickford,  Janet  Gaynor,  Helen  Twelvetrees,  Marilyn  Miller, 
Norma  Shearer,  Billie  Dove,  and  Olive  Borden  are  some  of  the  stars 
you  know  whose  predominant  quality  has  put  them  over  in  spite  of 
the  lack  of  any  other  gift  in  like  measure.  A  most  unusual  article, 
you  must  not  miss  it. 

^Trte  Baby  Bachelors 

THEY  are,  according  to  Myrtle  Gebhart,  the  youths  who  are  feel- 
ing their  oats  as  players  of  importance — Arthur  Lake,  David 
Rollins,  William  Janney,  William  Bakewell,  Frank  Albertson,  Eddie 
Quillan,  and  the  like.  What  do  these  boys  do  for  diversion?  What 
is  their  attitude  toward  work?  What  girls  do  they  go  with,  and  how 
do  they  regard  marriage?  Miss  Gebhart  describes  them  gayly,  sym- 
pathetically, these  juniors  who  may  be  the  stars  of  to-morrow,  and 
to  meet  them  through  her  is  to  like  them.  But  they  are  by  no  means 
the  only  featured  members  of  PICTURE  PLAY'S  cast  of  favorites 
for  next  month.  Dolores  del  Rio's  life  and  character  are  analyzed 
by  Monica  Andrea  Shenston;  Jean  Arthur  is  interviewed  by  a  new- 
comer, Edward  Nagle,  whose  visit  to  Phillips  Holmes  is  recorded 
in  the  present  issue  of  PICTURE  PLAY;  and  Ann  Sylvester  returns 
to  the  fold  with  a  most  penetrating  and  unusual  contribution  on 
Richard  Arlen,  who  is  presented  to  his  fans  as  he  has  rarely  been. 
Malcolm  H.  Oettinger  also  offers  one  of  his  inimitable  interviews; 
with  Madeline  Glass,  Margaret  Reid,  William  H.  McKegg  and  others 
maintaining  that  standard  which  you  have  long  admired  in  PIC- 
TURE PLAY. 


"DON'T/ You'll  make  him  the 
laughing  stock  of  the  place" 


but  when  he  started  to  play  the  piano  .  . . 


WHAT  a  glorious  night  I 
Henri's    quaint    restaurant — with 
its  intimate  European  atmosphere — 
crowded  with  joyful  panics.    Tonight, 

John  Brent  wa  |   a  party  for  eight 

in  honor  of  Helen  Thompson's  engage- 
ment Dick  Peters  had  recommended 
Hem  splendid   place   to   dine   and 

dance.     And  Dick  was  right 

"What's  that  in  your  pocket.  Dick? 
Your   will?"  asked  John. 

"No,  that"s  just  some  sheet  music  I 
bought  on  the  way  over,"  returned  Dick. 

"What  in  Heaven's  name  are  you  d 
with  sheet  music?    Going  to  use  it  as  wall- 
paper ?**  exclaimed  John. 

"'Why.    I'm    learning   to   play    the   pi 
Didn't  you  know?" 

"Oh,  boy!    !  I  ;at '    You  couldn't 

learn  to  play  in  a  thousand  yean 

Dick  looked  at  John  with  an  amused 
smile  on  his  face. 

"What  would  you  give  to  hear  me  play  ?" 

-ked   calmly. 
"A  ten  dollar  bill  if  you'll  go  up  there 
right  now  and  play  that  piano.     What  do 
exclaimed  John  with  triumph  in 
ice. 
"You're    on,"    replied    Dick,    quick   as    a 
flash.     "I'll  take  you  up  on  that  little  dare. 
But   not  here — wait    'til   we   pet   home  to- 
night." 

"X ■'.  s:r.  you'll  win  or  lose  that  bet  right 
me  on,  fellows,  let's  take  him  richt 
up  to  the  piano  and  we'll  settle  it  here.' 

"Don't  be  foolish,  boys,  you'll  only  make 
us  the  laughing  stock  of  the  place."  begged 
one  of  the  girls. 

Heedless  of  Dick's  pleading,  they  dragged 
him  to  the  platform  and  placed  him  at  the 
piano.  By  this  time  the  unusual  goings  on 
had  caught  the  attention  of  everyone  in  the 
-.rant.  Xow  Dick  realized  that  he  had 
to  go  through  with  it  So  summing;  up  all 
his  courage,  and  with  a  sudden  bur 
confidence,  he  broke  into  the  chorus  of  the 
latest  Broadway  hit. 

n    gasped.      He    couldn't   believe    his 
ears.     Everyone  at  the  table  sat  in  open- 
mouthed  amazement  as  Dick  sat  there  play- 
ne  snappy  number  after  another.     It 
n't  until  the  regular  orchestra  returned 
that   they   allowed    Dick  to   I  the 

piano.     Amid  the  din  of  applause,  he  went 
back  to  the  table,  only  to  be  swamped  with 
•ons.     But  Dick  refused  to  tell  them 


the  secret  oi  his  new-found  huimc.i1  ability, 
in  spite  of  all  their  begging. 

Qg    home    that    night,    John,    the    most 

surprised  member  of  the  party,  insisted 
stubbornly  until  Dick  finally  pave  in. 

"Well.  John,  I've  put  one  over  on  >.u. 
I  learned  to  play  by  myself,  without  a 
teacher." 

"What?  That's  impossible  I  Tell  me 
more." 


X 


Dick  Tells  His  Secret 

Dick   then  explained  how   lie   had   a'-.-. 

longed  to  l>e  able  to  play  some  i  uaical  in- 
strument. One  day  he  chanced  to  see  a 
l".  S.  School  "i  Music  advertisement  "i 
ferine;  a  Free  Demonstration  I  esson  Skep- 
tically he  sent  in  the  coupon.  Hut  when  the 
Free   Demonstration   Lesson  came  and  he 

saw    how    easy    it    wis,    he    knew    that  this 

was  just  what  he  had  been  looking  for. 
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There's  Good  Where  You  Find  It. 

WI I Y   all   the   excitement   about   Lupe   Velez   and 
Alice  White?     True,  neither  one  is  a  Garbo  or 
a    Chatterton,    but   we   need    variety    and    color 
upon  the  screen,  and  they  certainly  give  it  to  us.     What 
if  they're  not  great  actresses?     The  screen  would  seem 
flat  without  their  vivid,  bewitching  personalities. 

\\  hat  seems  so  silly  to  me  is  that  so  many  girls  say 
that  since  Gary  Cooper  has  been  in  love  with  Lupe,  they 
have  forsaken  him  as  their  favorite.  After  all,  the  poor 
man  had  to  fall  in  love  like  everybody  else,  didn't  he? 
Why  be  so  selfish  as  to  try  to  destroy  their  romance  with 
so  many  jealous  protests  ?  As  long  as  he  gives  us  his 
sincere,  delightful  performances — and  most  of  us  will 
never  know  him  in  any  other  way — why  try  to  run  or 
ruin  his  life? 

What  if  Miss  Velez  docs  proclaim  to  the  world  she 
"lofes"  him?  She  is  an  impulsive,  vivacious  child  of  na- 
ture who  even  Holh  wood  hasn't  tamed  to  be  genteel  and 
dull !  She's  a  mischievous  little  wench,  and  I  get  a  kick 
out  of  her  pranks. 

Alice  White  is  another  unjustly  criticized  star.  She 
should  be  cheered  for  her  meteoric  rise  from  a  studio 
employee  to  stardom,  not  jeered  at !  She  is  a  courageous 
person  to  stand  up  under  all  the  slams  she  gets.  At  least 
her  personality  is  distinctive  upon  a  screen  that  is  over- 
run with  Jean  Arthurs,  Mary  Brians,  Loretta  Youngs, 
and  Bernice  Claires,  all  sweetly,  tiresomely  alike.  Alice 
can  claim  a  cute  perkiness  that  none  of  these  could  ever 
hope  to  attain. 

D.  S. 

( Oakland,  California. 

Garbo's    Army    Greater   Than    Napoleon's! 

In  reading  "What  the  Fans  Think"  I  ran  across  a  let- 
ter by  a  young  intellect  from  Peoria,  Illinois,  who  flatters 
herself  into  thinking  she  knows  a  real  artist  when  she 
sees  one.  It  is  small  wonder  my  righteous  indignation 
was  greatly  aroused.  So  Garbo  is  only  a  passing  fancy! 
Well,  Garbo  has  been  over  here  several  years  now  and 
instead  of  her  popularity  decreasing,  it  is  increasing  by 
leaps  and  bounds.  The  public  eagerly  awaits  every  new 
picture  of  hers  and  cries   for  more. 

It  is  undoubtedly  true  that  Greta  Garbo  cannot  be 
compared  with  Alice  White,  Nancy  Carroll,  Anita  Page, 
Clara  Bow,  and  many  others.  Who  can  compare  a  planet 
with  a  star,  or  even  a  meteor?     Greta  Garbo  stands  out 


above  every  actress  in  this  world.  Garbo  isn't  cute — 
such  a  word  cannot  go  hand  in  hand  with  as  great  an 
artist  as  Garbo.  Imagine  saying  that  George  Washing- 
ton was  not  cute.  To  do  so  would  be  no  more  unheard 
of  than  to  say  Garbo  is 'not  cute.  Alice  White,  Nancy 
Carroll,  and  hundreds  of  others  could  vanish  from  the 
screen  and  inside  of  a  month  never  be  missed,  because 
there  are  thousands  of  others  just  as  good  waiting  to 
step  into  their  places.  But  should  Greta  Garbo  leave  the 
screen  there  would  never  be  any  one  to  take  her  place. 
Many  might  try,  but  there  is  only  one  such  place  and 
only  one  person  to  fill  that  place  and  that  one  person  is 
Greta  Garbo.  Even  Hollywood,  full  of  great  artists, 
looks  up  to  Garbo  as  one  who  is  above  them  and  who 
has  attained  a  place  they  can  never  reach. 

Greta  Garbo  sits  on  a  throne  o,f  achievement.  Queen 
of  artists,  mistress  of  all,  with  an  army  of  fans  such  as 
Napoleon  and  the  kaiser  never  dreamed  of. 

Teresa  Wilson. 

Golden  City,  Missouri. 

New  Way  to  Reduce. 

No  truer  words  have  ever  been  written  than  those 
expressed  in  Madeline  Glass's  article  "What  Is  His  Mys- 
tic Power?"  concerning  Ramon  Novarro. 

I  have  experienced  almost  everything  she  mentioned, 
and  more.  Ramon  exerts  a  profound  influence  over  my 
daily  life.  I  go  to  the  Catholic  church  because  it  is  his, 
although  my  family  are  Protestants.  I  have  learned  to 
speak  Spanish  and  play  the  Spanish  guitar  and  the  piano. 
Also,  I  read  many  deep  books  on  religion  and  philosophy. 
I  know  that  I  have  a  better  character,  because  I  try  to 
live  up  to  Ramon's  ideals. 

When  I  was  fortunate  enough  to  see  Ramon  for  the 
first  time,  personally,  at  the  premiere  of  "Devil-May- 
Care,"  I  was  so  thrilled  that  I  had  a  terrible  case  of 
heart  sickness  afterward.  I  was  ill  in  bed  for  three  days 
and  lost  six  pounds.  Too  bad  I  wasn't  trying  to  reduce, 
so  I  could  have  derived  some  advantage  from  it ! 

Betty  Malone. 

Hollywood,  California. 

Are  Stars  Ordinary  Beings? 
I  agree  entirely  with  Jack  Jennison.  Why  make  tin 
gods  of  the  stars?     I  think  it  would  be  just  as  interest- 
ing if  the  interviewers  scattered  a  few  faults  among  the 
Continued   on   page   10 


ARTI4T*  EARN  MORE 


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10 

Continued  from  page  8 
compliments  that  make  the  stars  seem 
superhuman.  Although,  to  be  truly  frank, 
it  would  be  very  trying  t< .  have  my  private 
life  dipped  into!  Hut  as  the  stars  must  ex- 
pect  it,  the  articles  could  at  least  be  made 
readable  by  making  the  actor  in  question 
appear  human. 

And  now  to  disagree  with  Gladys  Stern. 
She  loses  sight  of  the  objec;  of  this  depart- 
ment. There  would  be  no  "What  the  Fans 
Think"  if  the  "moronic  epistles"  were  not 
contributed.  Remember,  Gladys,  the  writ- 
ers of  these  letters  have  their  likes  and  dis- 
likes, and  even  if  they  don't  state  their 
views  in  a  way  that  pleases  you,  they  are 
fans  just  the  same.  I  think  it  is  interest- 
ing to  read  the  different  opinions.  They 
often  shed  a  new  light  on  a  subject.  Read 
this  over,   Gladys,   and   think   again. 

Phyllis  Johnson. 

Chicago,  Illinois. 

And  Now  for  a  Sob. 

On  May  10th,  on  Gregory  and  Gower 
Streets,  across  the  street  from  the  RKO 
studio  and,  incidentally,  across  the  street 
from  Richard  Dix  s  dressing  room,  a  lit- 
tle child,  Ward  Bissonette,  was  run  down 
by  an   automobile. 

This  child  was  a  worshiper  of  Richard 
Dix.  Dix  was  all  that  a  man  should  be, 
and  the  child  wished  to  be  like  him,  for 
to  him  there  was  no  one  like  Richard  Dix, 
although  the  child  had  never  been  lucky 
enough  to  speak  to  his  hero. 

When  they  carried  the  child  into  my 
apartment  he  was  suffering  with  a  crushed 
leg.  He  lay  there  trying  to  keep  from 
crying  out,  yet  failing,  of  course.  Imagine 
this  seven-year-old  child  trying  to  be  brave 
like  his  hero,  and  talking  about  him,  too. 
I  told  him  I  would  try  to  get  Richard. 

After  the  youngster  was  taken  to  the 
hospital,  I  tried  to  find  Mr.  Dix,  but  could 
not  do  so.  Finally  I  left  a  note  for  him 
at  the  studio  gate,  telling  him  about  this 
boy,  so  that  he  would  get  it  when  he  went 
on  the  lot  on   Monday  morning. 

Tuesday  night  the  mother  asked  me  if 
I  would  like  to  ride  to  the  hospital  with 
them  to  see  the  boy.  While  we  were  there 
a  telegram  was  brought  in — a  "buck  up" 
type  of  message,  and  it  was  signed  "Rich- 
ard Dix." 

The  next  day  Ward's  mother  came  to 
me  and  told  me  that  a  huge  bunch  of 
flowers  and  a  lovely  note  in  Richard's 
own  handwriting  was  delivered  to  the  boy. 
And  this  has  been  as  good  as  medicine — 
much  better,  for  it  has  given  the  boy 
something  to  look  forward  to,  for  Rich- 
ard has  told  him  that  he  will  be  there  to 
see  him  soon. 

Now,  fans,  this  is  not  a  press  story, 
and  any  one  who  wishes  to  verify  it  can 
write  to  Mr.  Bissonette,  823  North  Gower 
Street,   Hollywood. 

I  know  Richard  Dix  would  never  want 
this  known,  but  I  am  telling  you  all  be- 
cause I  want  you  all  to  know  him  as  I  do. 

E.    S.    COTTINGHAM. 

Hollywood,    California. 

Plyers   Should   Talk   Like   Lydies. 

In  June  Picture  Play  there  was  a  let- 
ter from  Irene  Burton  asking  English  fans 
if  a  new-paper  report  concerning  Sir  Al- 
fred Knox  rising;  in  the  House  of  Com- 
mons to  champion  English  as  it  is  spoken 
in  England  against  the  "ravages"  of 
American  talking  pictures,  truly  reflects 
the   feeling  of  the  average  Englishman. 

\t'ter  reading  her  letter,  I  am  forced 
to  conclude  that  a  small  matter  lias  rather 
disturbed  her.  If  it  is  reported  in  our 
newspapers  that  "Big  Bill"  Thompson  or 
Senator  Borah  do  not  like  us,  we  do  not 
immediately  think  that  every  finger  in  the 
United  States  is  derisively  pointed  against 
us. 


Wkat  the  Fans  Think 

It  is  true  that  there  are  many  people  in 
England  who  deprecate  the  arrival  of  the 
talkies — discharged  musicians,  Sunday- 
school  teachers,  and  so  forth,  who  shud- 
der every  time  they  hear  a  boy  or  girl, 
humorously  imitating  what  they  have 
heard  on  the  screen,  say  "Sez  you,"  or 
even  "Oh  yeah?"  But  the  true  answer 
to  her  question  is  to  be  found  in  the 
crowded  theaters  and  the  long  lines  wait- 
ing to  see  and  hear  the  latest  talking  pic- 
ture. 

We  have  no  fear  of  Clara  Bow  and  a 
few  more  flappers  Americanizing  the  Eng- 
lish tongue,  when  there  are  such  men  as 
George  Arliss,  Ronald  Colman,  Clive 
Brook,  Basil  Rathbone,  and  H.  B.  Warner 
teaching  the  American  public  that  the 
English  of  an  educated  Londoner  or  New 
Yorker  sounds  better  than  the  raucous 
voices  of  the  cute  flappers  and  the  accents 
of  the  Middle  Western  or  Southern  States, 
or  whatever  you  have.  Pictures  like  the 
"Last  of  Mrs.  Cheyney"  and  "Disraeli" 
are  of  more  use  to  us  than  "The  Cock- 
eyed World." 

I  admire  the  spirit  in  which  Miss  Bur- 
ton wrote  her  letter.  She  was  disturbed 
over  this  report,  just  as  I  was  disturbed 
over  a  statement  I  read  a  few  months  ago 
in  an  American  magazine,  not  Picture 
Play,  which  said  that  the  first  British 
talkie  to  be  shown  in  Los  Angeles  was 
howled  off  the  screen.  I  doubt  this  state- 
ment, but  if  it  is  true  I  should  like  to 
know  the  name  of  this   film. 

I  hope  that  Miss  Burton  will  reply  to 
this  letter  and  tell  me  if  the  statement  was 
true.  R.  G.  E. 

Beech    House,    Bolton   Road, 

Pendleton,   Manchester,  England. 

That  Makes  Lupe  a  Queen. 

My  heavens !  What's  all  this  breeze 
about  Gary  Cooper  and  Lupe  Velez?  I 
read  one  letter  that  practically  accused 
Lupe  of  not  being  a  lady.  It  makes  me 
laugh  and  somewhat  angry,  too,  what 
some  people  consider  a  lady.  A  woman 
is  a  lady  when  she  is  full  of  human  kind- 
ness, considerate  toward  others,  moral, 
kind  to  animals,  sincere,  not  catty,  et  cet- 
era. That's  my  opinion  of  a  lady.  Educa- 
tion is  only  secondary.  I've  seen  women 
who  are  highly  educated,  yet,  in  my  opin- 
ion, are  far  from  being  ladies.  They 
are  mean,  catty,  and  would  injure,  mor- 
ally and  physically,  some  one  they  were 
jealous  of.  It  seems  to  me  Lupe  Velez 
is  a  sweet,  kind,  lovely  little  thing  and 
a  lady  if  there  ever  was  one.  Wild?  No, 
she  is  not,  only  lively,  peppy,  and  why 
not?      Heavens,   she's   awfully   young  yet. 

Lupe  ruining  Cooper's  career?  Silly 
idea !  Gary  is  ding-dong  lucky  to  get 
this  little  beauty.  She  is  a  fit  wife  for 
a  king!  And  please  remember,  a  lady 
is  one  who's  heart  is  full  of  kindness,  not 
whose  head  is  full  of  algebra!  Any  fool 
can  learn  from  books,  but  not  every  one 
can  have  a  good  heart.  A  lady  is  one 
who  brings  happiness  into  an  already 
dreary  world,  not  one  who  considers  her- 
self a  lady  because  she  has  read  a  few 
good  books  and  can  spell  correctly ! 

Gary    Cooper,    I   congratulate   y»u ! 

Alyce  Crockett. 

Care  of  20th    Infantry. 
Fort   Francis    E.    Warren, 
Cheyenne,   Wyoming. 

Who's   Who   in   England. 

May  an  English  admirer  of  Betty  Comp- 
son  thank  Grace  Kelly  for  her  defense 
of  "our  adorable  Betty"?  Because  she  is 
undoubtedly  once  more  at  one  of  the  re- 
current crises  of  her  peculiar  career  and 
needs  her  friends. 

A  recent  popularity  contest  here,  al- 
though the  total  of  votes  cast,  21,763,  is 


small,  perhaps,  to  American  eyes,  as  the 
British  public  simply  will  not  respond  in 
such  matters — I  did  not  vote  myself — is 
generally  accepted  as  an  accurate  guide  to 
feeling  here. 

She  is  fourth  to  Ruth  Chatterton  and 
Norma  Shearer,  a  few  votes  behind 
Gloria  Swanson. 

She  has  twice  as  many  votes  as  Greta 
Garbo,  whose  talking  films,  however,  have 
not  yet  reached  the  general  public,  or 
Evelyn  Brent ;  five  times  Bebe  Daniels, 
or  Bessie  Love;  six  times  Lois  Moran; 
eight  times  Billie  Dove;  and  ten  times 
Dorothy   Mackaill. 

Marion  Davies,  Mary  Pickford,  Clara 
Bow,  and  Alice  White  were  nowhere  at 
all.  Only  Brook,  Colman,  and  Arliss  of 
the  men  had  more  votes. 

Her  frantic  gadding  about  the  various 
companies  playing  poor  parts  in  indifferent 
films,  apart  from  the  damage  to  her  career, 
appears  to  have  drained  her  of  vitality 
like  a  squeezed  orange.  In  "The  Case  of 
Sergeant  Grischa"  this  is  very  evident. 

All  her  weaknesses  are  apparent,  ex- 
cept that  her  make-up  is  not  as  bad  as 
usual,  while  her  power  of  creative  evo- 
cation, of  giving  a  distinct  personality  to 
each  role,  however  worthless  and  trivial, 
is  in  abeyance. 

Hopelessly  miscast  and  ill  at  ease 
throughout — one  fancies  that  the  director 
resented  her  presence  as  a  box-office  con- 
sideration thrust  upon  him — this  is  a  disas- 
ter indeed,  and  some  of  the  comments  in 
England  on  her  work,  such  as  "a  chorus 
girl  masquerading  as  a  chocolate  soldier," 
would  please  Norbert  Lusk  to  whom  she 
can  obviously  do  nothing  right,  even  in  the 
delightful   "Street  Girl." 

If  she  will  not  rest,  and  cannot  or  will 
not  discrimh.jte  in  her  roles,  we  shall 
assuredly  lose  her  again. 

And  for  one  admirer  the  loss  of  that 
eager,  gallant,  dainty  little  figure,  highly 
competent,  with  the  vividly  expressive 
face  and  the  soft  voice,  despite  faulty 
articulation  and  erratic  intonation,  rich  in 
emotional  color,  would  leave  a  blank  on 
the  screen  none  could  fill. 

M.   G.   Atkin.    • 

489  Romford  Road,   Forest  Gate,   E  7, 
London,    England. 

A  Strange  Fate  for  Barry. 

Sometimes  I  have  the  patience  to  read 
through  a  movie  magazine  and  sometimes 
I  do  not.  When  I  see  articles  like  "Clara 
Bow  Shops  for  a  Baby,"  I  pass  them  up 
with  a  grimace,  and  say,  with  Walter 
Winchell,  "of  all  the  sillies!"  I  can't  see 
why  any  one  is  interested  whether  Clara 
Bow  wants  a  baby  or  not.  However, 
I  suppose  some  folks  are,  or  so  much 
good  space  would  not  be  used  in  writing 
about  it. 

I  don't  care  to  read  about  what  quiet 
lives  the  stars  lead,  or  about  their  happy 
home  life,  because  the  next  newspaper  one 
picks  up,  one  is  likely  to  read  that  these 
same  stars  are  getting  a  divorce.  It  dis- 
illusions one,  you  know. 

On  the  other  hand,  the  article  in  the 
June  number,  "NaughtyGirl — Papa  Spank," 
was  extremely  interesting.  Who  would 
think  Nancy  Carroll  was  such  an  unpleas- 
ant person  on  the  set?  If  there  ever  was 
a  girl  with  a  sweet  face,  she  is  one.  And 
about  the  last  person  I,  would  suspect  of 
being  high-hat.  Her  face  is  so  pretty 
and  generous  looking.  But  one  can  never 
tell  what  is  beneath  the  exterior,  though. 
Miss  Carroll  would  probably  be  so  much 
more  attractive  if  she  lived  up  to  her 
looks. 

Ordinarily  I'm  not  strong  in  my  likes  or 
dislikes  of  the  stars.  They  usually  suit 
me,  if  they  are  good  players.  Since  the 
advent  of  the  talkies,  I  have  developed  a 


11 


fondness  for  Ramon  Novarro  because  of 
lii>  singing  voice.  Ah.  how  [Move  beauti- 
ful  singing !  Hi-  doesn't  seem  to  W 
balhhooed  very  much.  One  doesn't  see 
at  deal  about  him  in  the  magazines, 
he  doesn't  care  for  that  M>rt  of 
thinii.     I   moan — really  doesn't. 

A-  [or  Barry  Norton,  he  ought  to  be 
shot  Gentlemen,  1  repeat  it!  //<■  i>iij//i/ 
/i>  be  shot.  \Yh>  ?  He  i>  too  good-look- 
ing; Oh,  absolutely!  He  is  more  beauti- 
ful than  June  Collyer  or  Billie  Dove,  and 

I  man  with  a  face  like  hi>  has  no  business 
to    li\i        At     least    be    should    not*  be    an 

•dor;  he  should   take  up   forest  ranging 

or  lumber  camping,  or  something  rough 
tO  live  down  those  looks. 

W'iim  v  Thompson, 
Hopemont,   West   Virginia. 

There's  Room  for  All. 
A-  I  buy  all  the  leading  fan  magazines, 
mainly  to  collect  portraits  of  actors  and 
actresses — I      naturally      read     them,      too. 
And  the  most  abominable  thing  I  have  yet 
I    in   the    waj    the   average   con- 
tribut   r   to   "What    the    Fans    Think"    rips 
up  the  back. 
Afl   1    glance   through   the  July   issue  I 
socfa  things   a-    Isabel    Hatch'-   "now 
naughty  of  Mr.  Mook,  you  jus'  'top   at — 
so   there!"    atxl   Jennie    Schulman    rushing 
valiantly  to  the  defense  of  reliable   Dick 
Barthelmess — my  !   my  ! 

•  r   all.   if  g    t>>   take   the 

time  to  write  a  letter  which  may  be  pub- 

'.   one  mig-ht   write   a   real   letter  and 

not    the   kind    of    thing    a    three-year-old 

child  might  think,  but  can't  write. 

I    v  how    "What    the 

Fans  Think"  improves  Picture  Plav. 
Why  not  publish  sensible  letters  and  weed 
out  these  chattering  females,  i'->r  most  of 
them  are  such.  Give  us  letters  that  mean 
something  .id. 

I'm  -mre  if  I  were  in  the  place  of  any 
of  the  stars  who  are  now  at  the  peak  of 
their  careers.  I  would  cl"<e  Pictlrk  Play 
in  di- 
ll ,\  ever,  as  there  is  good  in  every- 
thing, there  are  some  fine  things  printed 
in  this  open  forum.  I  refer  to  such  let- 
s  those  written  by  Elizabeth  Winter, 
J.  J.  Druge,  Clifford  Westerneier,  and 
others  too  numerous  to  mention  or  recall. 

J.  Sands. 
201    West   78th   Street. 
New  York,  N    Y. 

Richard   Barthelmess   Upheld. 

Are  we  fans  acting  fairly  toward  the 
Star-  ? 

They  entertain  and  delight  us,  making 
u;  forget  for  a  while  this  workaday  world. 
The  account  of  their  doings  and  their 
opinions    enliven    the    •  Pictlre 

Play  and  afford  us  further  pleasant  hours 
of  interest  an  I  They  are  end- 

lessly photographed  and  interviewed  in 
their  spare  time  for  our  pleasure. 

ve  treat  them  in  retun 
all  thi-,?     Take  t!  Richard  Bar- 

thelmcss,  who  has  that  quality  of  resi 
which    makes    it    an    agony    to    be    a! 
under  a  microscope. 

He  goes  to  Mexico   for  change  and  re- 
laxation and  is  spitefully  censured  lx 
he  does  i 

mand   it. 

Then,   while    tak  •    in   the   pri- 

vacy y  a  total 

stranger  who,  because  he  doe»  not  r 

her  as  a:  the  will  in 

H  iw   gracious   would   -he  have  been   in 
•.bly    the    nine 
and    ninth    to    thrust    h- 
his  notice  that  day 
Richard    Barthelmess    has    been    my 


vorite  actor  since  "Way  Down  East"  Re- 
cent letters  in  Picti  m  Pi  \n  have  revealed 
the  greatness  of  his  courage  and  honesty 
in  trying  to  live  a  normal  life,  and  the 
pettiness  of  hi-  detract 

E.  J( 
Park  View,  Weymouth,   England. 

These  Charming  Accents. 
metimes  the  movie  producers  act  like 
vn-ups,  then  again,  like  one-year-olds. 
Here'--  one  case  where  they  acl    like  the 
latter. 

\\  hen  the  talkies  came  along,  a  number 
of  stars  wiie  dispensed  with  because  of 
accent,  a  shining  example  being  the  in- 
comparable Hmil  Jannin 

Yet  to-day  it  appears  thai  practically 
ever)  >tar  feels  put  out  if  she  or  he 
doesn't  show  the  ability  to  speak  with  an 
accent  in  at  least  one  picture.  Nearly 
every  film  has  at  least  one  person  with 
an  accent.  For  example,  "Marianne," 
"The  Texan,"  and  "Sarah  and  Son,"  to 
mention   a    few. 

What  makes  the  movie  heads  think  that 
we  wouldn't  accept  a  real  accent,  if  we're 
willing  to  accept  a  make-believe  <>iu? 
With  a  real  accent  we  wouldn't  have  to 
fear  of  the  actor  forgetting,  as  happens 
with  acquired  speech. 

If  we  accept  the  accents  of  Ramon  No- 
varro,  Lupe  Velcz,  Maurice  Chevalier. 
Paul  Lukas,  why  not  Emil  Jannings,  Nils 
Asther.  Yictor  Yarconi,  and  Barry  Nor- 
ton? 

Anyway,  in  having  Emil  Jannings  here 
again,  we  would  be  sure  of  pictures  other 
than   revues    and    musical    comedies. 

Jean    Haehkgen. 

1206  Washington  Stn 
Hobokcn.  New  Jersey. 

More  About  Gish's  Art. 
In  view  of  the  recent  discussion  of  the 
art  of  Lillian  dish  in  "What  the  Fans 
Think,"  Mi^  Gish's  performance  in  the 
-tauc  production.  "Uncle  Yanya."  is  in- 
•ing,  and  a  few  comment-  may  not  be 
untimely.  Jed  Harris'  production  of 
"Uncle  Yanya"  is  acknow-led  be  the 

finest  staging  of  Chekov's  play  ever  seen 
in  Xew  York  The  critics  unite  in  prais- 
ing the  direction,  staging  and  acting,  and 
no  other  member  of  the  cast  is  so  highly 
praised  as  Lillian  Gish. 
Florence  Bogarte's  letter  is  not  -o  inter- 
ting  as  those  in  reply.  These  at  least 
attempted  to  prove  that  Miss  Gish  was 
or  was  not  an  artist.  Florence  Bogarte 
merely  made  statements:  "Mi"  Gish  has 
no  appeal;"  "Mi>s  Cish  knows  nothing  of 
dramatic   art."  et  cetera. 

Perhaps  she  expects  us  to  accept  her 
■  •pinion  without  argument,  because  she  is 
a  teacher  of  dramatic  art,  and  therefore 
knows  more  of  acting  than  the  layman. 
I  am  never  prone  to  accept  without  i 
tion  die  opinions  of  others  on  acting  abil- 
ity, much  less  artistry,  no  matter  how- 
much  better  fitted  to  judge  than  I  they 
may  appear  t  i   if   I   were,   I   be- 

lieve   I    should    be    inclined    to    accept    the 
opinions  of  the  New  York  critic-   i 
than   Mil 

Any    one    can    make    statement-.      Miss 
letter   may   be   dismissed    with- 
anytbing  furt!  ■ 
offers    nothing   to    prove    h<  tions. 

Ion    Mackay*s    letter    d< 
attention.      He  brings    forth   the   somi 
bromidic   statement   that   "the   downfall  of 
impending  the  instant  Hollj 
from  the 
think    Miss 

' '    ■ ' 
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12 


What  the  Fans  Think 


Gish's  entrances  were  always  applauded— 
these  facts,  it  seems  to  me,  should  effec- 
tually  re  line  that  statement. 

To  compare  Lillian  dish  with  Ruth 
Chatterton:  the  difference  between  the 
latter  and  Miss  Gish  is  the  difference 
between  the  excellent  and  the  supremely 
great  Ruth  Chatterton  was  an  utter 
failure  in  the  only  part  requiring  acting 
ability  in  which  I  have  seen  her  in — "Sins 
of  the  Fathers."  She  deserves  no  credit 
for    the    -  of    "("harming    Sinners" 

and  "The  Laughing  Lady."  Such  plays 
require  no  acting  ability  in  particular;  the 
dialogue  is  sure-fire,  and  needs  only  to  be 
halted  hack  and  forth  by  the  players  to  be 
entertaining. 

Compare  with  these  Lillian  Gish's  per- 
fi  nuances  in  "Broken  Blossoms,"  in 
"Orphans  of  the  Storm,"  and  "Romola." 
Miss  Gish  lifts  one  into  a  rarefied  atmos- 
phere in  which  it  is  both  rapturous  and 
painful  to  breathe.  Yet  the  emotions  she 
portrays  are  real  and  human,  else  we 
would  not  feel  them  so  deeply. 

Richard  E.   Griffith,  Jr. 

217   W.    Boscowen   Street, 
Winchester,  Virginia. 

Dog-in-the-manger  Fans. 

There  is  a  certain  young  actor  of  whom 
I'm  rather  fond — Robert  Montgomery.  He 
is  such  a  good  actor,  so  good  looking,  and 
has  such  a  nice,  impudent  charm,  that  I 
find  him  well-nigh  irresistible.  But  there 
is  one  thing  the  matter  with  him.  His 
hair.  He  has  succumbed  to  the  curling 
iron.  And  so,  playing  a  lone  hand,  I  pe- 
tition this  nice  young  actor  to  stop  it.  It 
really  sickens  me  to  see  ringlets  hanging 
about  a  rather  intelligent  face.  Thus  this 
silly  but  utterly  sincere  request. 

One  thing  more.  My  favorite  actor, 
Gary  Cooper,  is  married,  has  married,  or 
is  about  to  be  married,  to  Lupe  Yelez. 
Now  in  these  pages  I  have  seen  anger  and 
annoyance  expressed  at  this  bit  of  news. 
Why?  Haven't  you  fans  ever  heard  of 
publicity?  Don't  you  realize  that  the 
chances  are  Lupe  never  said  in  public, 
"Garee,  I  lof  you,"  that  she's  probably 
charming  and  lovely  and,  above  all,  that 
he's  in  love  with  her? 

Maybe  I'm  wrong.  But  at  least  give 
Gary  credit  for  knowing  what  he  wants. 
And  why  do  fans  object  to  an  actor's 
being  married?  You  can't  have  him 
yourself,  so  why  the  dog-in-the-manger 
.-.ttitude? 

Diana  Loris. 

Chicago,   Illinois. 

Influence  of  Mother  Love. 

Oscar  Wilde  wrote  that  all  criticism, 
whether  high  or  low,  is  a  mode  of  auto- 
biography. I  have  been  guilty  of  rather 
low  criticism  of  a  young  lady  in  pic- 
tures— I  cannot  call  her  an  actress — named 
Alice  White,  whom,  I  wished  to  get  off  the 
screen  if  possible.  I  now  realize  that  my 
lucubrations  printed  in  "What  the  Fans 
Think"  were,  to  say  the  very  least,  unkind 
,;nd,  worse  yet,  unnecessary.  I  confess  to 
having  become  stupidly  personal,  which  I 
had  no  right  to  do,  not  knowing  Miss 
White.  I  could  never  tolerate  a  person 
who  allowed  an  artist's  personal  life  to 
influence  his  opinion  of  that  artist's  prod- 
uct. And  bec,m~e  little  Alice  is  not  an 
arn'sf  should  not  alter  circumstances.  So 
will  Miss  White  kindly  forgive  me?  I 
have  reformed  and  want  to  live  and  let 
live. 

The  things  most  attractive  are  those 
which  mirror  one's  own  beauty.  Behind 
the  admiration  any  of  us  have  for  any 
artist,    he    he    literary,    mus  dra- 

matic is  first  of  all,  affinity.  We  love 
most  the  art  that   partakes  most  of  our- 


selve — the  artist  of  whom  we  can  say,  "If 
1  could  only  know  him !''  Technicalities 
are  important — to  the  connoisseur  they  are 
of  great  importance — but  to  the  casual 
i  ver,  and  even  to  the  majority  of  ob- 
servers, conscious  pleasure  rules.  Even 
the  connoisseur  cannot  help  but  be  in- 
fluenced by  it.  How  many  of  them  will 
admit  that  "the  production  is  excellently 
throughout,  yet  it  leaves  a  bad  taste 
in    the   mouth." 

To  become  autobiographical,  I  have  a 
maternity  complex  and  have  always 
wanted  more  than  anything  else  in  the 
world,  to  be  a  mother.  Naturally  the 
greatest  appeal  to  my  emotions  must  be 
through  what  is  to  me  the  sublimcst  of 
emotions.  Which  is  probably  why  I  saw 
"The  Case  of .  Lena  Smith"  many,  many 
times  and  thought  it  the  most  satisfactory 
and  the  most  artistic  film  that  I  have  ever 
seen.  And  I  think  that  the  secret  of  Barry 
Norton's  tremendous  appeal  to  me  is  be- 
cause he,  too,  appeals  to  my  maternal  in- 
stinct. Conscious  pleasure  may  rule  in  the 
case  of  him  who  seems  doomed  to  be 
called  "Mother's  Boy,"  but  from  a  tech- 
nical standpoint  he  rates  high,  for  I  think 
that  my  Barry  is  potentially  the  greatest 
actor  on  the  screen.  Thus  reasons  a  ma- 
ternal soul.  Crocella  Mullen. 

Hollywood,   California. 

Alice's   Knockers   Catty? 

I  have  never  written  to  a  fan- magazine 
before,  but  I  am  moved  from  my  lethargy 
by  the  constant  attacks  on  Alice  White. 
She  certainly  seems  to  be  giving-  some  of 
the  fans  a  pain.  I'd  like  to  know  why. 
Alice  has  a  very  large  public  and  as  they 
are  mostly  boys,  I  can  understand  why  not 
many  of  them  write  to  fan  magazines. 
They  leave  it  for  these  little  gee-gaw  flap- 
pers who  strive  to  be  like  Alice  and,  be- 
cause they  fail,  can't  bear  to  see  Alice  suc- 
ceed. 

Alice  White  is  delightful.  She  is  young, 
and  so  deliciously  slim ;  she  has  pep  and 
unbounded  personality ;  she  is  easy  to  look 
at  and  she  can  afford  to  be  herself  on  the 
screen.  I  always  enjoy  her  pictures,  and 
I  certainly  think  she  can  wipe  the  floor 
with  many  ingenues,  who  pose  and  do 
nothing.  Anita  Page,  for  instance!  If 
any  one  else  tells  me  Anita  can't  move 
without  dad  and  mum  by  her  side,  I'll  sock 
them.  There  are  oh !  so  many,  many 
more.  Alice  White  starts  where  all  these 
others  finish.  She  has  it  on  'em  all  and 
jolly  good  luck  to  her.  I  guess  she  can 
read  these  false  alarms  and  then  just 
look  at  her  check  book  and  give  the  razz 
to  them  all.      She   should  worry! 

Don  Ross. 

Craigmore,  Finchley  Road,  N.  W.  11, 
London,  England. 

Love   Is   Like   That. 

I  have  just  realized  that  the  world  is 
simply  full  of  morons.  How  can  any  one 
that  makes  movie-going  a  habit,  not  rec- 
ognize their  favorites?  Why,  I  have  some 
five  hundred  pictures,  and  not  one  of 
them  has  the  name  attached,  yet  I  can  tell 
you  who  they  are,  without  a  pause.  They 
are  like  old  friends,  and  so  you  can  imag- 
ine how  I  felt  when  I  read  that  Richard 
Arlen  had  the  lead  in  "Illusion,"  that 
Tom  Tyler  was  The  Virginian,  and  that 
William  Powell  was  Doctor  Fu  Manchu. 
Not  only  that,  but  I  also  learned  that  ac- 
tors are  condemned  to  the  outer  darkness. 
because  of  the  lives  they  lead.  Yeah? 
They  have  no  time  for  wild  life,  I  can  tell 
you.  I  have  been  to  parties  that  most 
actors  would  be  ashamed  to  he  seen  at,  and 
I'm  still  a  nice  girl.  In  fact,  the  minister 
of  my  church  has  been  trying  to  make  a 
horrible  example  of  me  for  weeks. 


Estelle  Tompson  has  a  mistaken  im- 
pression of  R.  A.  Ncwcomb.  She  is  one 
of  Gary's  most  loyal  supporters.  Perhaps 
her  letter  was  a  bit  destructive,  but  I  have 
discovered  that  she  is  one  grand  person. 
Estelle,  be  sure  what  you  are  raving  about. 
All  my  life  I  will  be  grateful  to  Picture 
Play  for  giving  me  such  a  friend.  Three 
cheers  for  Picture  Pi.ay  and  Ruth  New- 
comb,  both  square  shooters. 

Naturally,  we  seekers  after  the  ro- 
mance that  Gary  Cooper  typifies,  don't 
want  him  married  to  any  one,  but  stop  and 
consider.  Forget,  for  a  moment  that  he 
is  an  actor,  and  think  of  him  as  one  of 
the  gang.  He  is  a  man,  and  perhaps  he 
loves  Lupe  Yelez.  Why  blame  Gary  for 
falling  in  love  with  Lupe — if  he  has — 
when  perhaps  he  did  not  want  to?  One 
can't  fall  in  and  out  of  love  at  will.  It 
can't  be  done — I've  tried  it — unless  you're 
in  love  with  love.  Imagine  Gary  being 
the  sort  that  is  in  love  with  love.  He's  not 
the  type. 

Lupe  is  beautiful,  no  doubt,  and  has  the 
prettiest  color.  It's  like  the  color  of  thick, 
rich  cream.  I  do  not  want  them  to  marry, 
most  emphatically,  but  I  don't  want  them 
to  break  their  hearts  just  to  please  me. 
If  you're  the  kind  of  fans  you  ought  to 
be,  you  will  want  him  to  marry  her,  and 
be  happy. 

Ruth   Warner. 

1473   South   Belmont   Avenue, 
Indianapolis,  Indiana. 

That   Chilling   Silence. 

Some  time  ago  I  wrote  a  letter  to  "What 
the  Fans  Think"  regarding  Gary'  Cooper. 
There  seemed  to  be  some  objection  to  my 
opinion  of  Mr.  Cooper.  At  least  a  few 
of  the  loyal  admirers  of  Gary  arose  in 
their  wrath  and  denounced  me  as  being 
catty,  or  something  to  that  effect.  Tut, 
tut !  I  still  think  Gary  is  a  nice  boy, 
but  rather  blah.  Every  one  else  is  en- 
titled to  his  own  thoughts,  and  I  offer 
no  arguments  on  the  subject. 

Since  writing  that  letter  I  have  gath- 
ered a  few  new  ideas  about  an  actor  whom 
I  formerly  admired  very  much.  I  say 
formerly,  because  at  the  present  time  I 
no  longer  care  to  attend  any  performance 
by  that  well-known  flaming  lover,  John 
Gilbert.  A  short  time  ago  scenes  were 
being  taken  at  Los  Angeles  Harbor  for  his 
latest  picture,  "Way  For  a  Sailor."  I 
happened  to  view  the  filming  of  the  scenes, 
and  was  greatly  impressed  by  the  acting 
ability  of  Wallace  Beery,  who  is  also  in 
the  cast.  Mr.  Beery  is  pleasant,  agreeable, 
and  a  sterling  actor.  He  went  through 
each  of  his  scenes  as  if  he  really  meant  it, 
as  if  he  were  really  living  the  part.  He 
could  even  make  every  one  forget  the 
cameras,  lights,  and  other  studio  props 
with  which  he  was  surrounded.  It  could 
readily  be  seen  that  while  his  film  roles 
might  sometimes  cause  him  to  appear 
hard-boiled,  or  even  villainous,  off  the 
screen  he  is  every  inch  a  gentleman.  How 
could  I  tell  this  much  about  him  after 
such  a  short  time?  I  can  only  say  that 
I'm  sure  all  fans  would  agree  with  me 
if  they  were  able  to  meet  him. 

I  have  purposely  refrained  from  men- 
tioning Mr.  Gilbert.  He  may  also  be  a 
charming  person.  Perhaps  my  impres- 
sion of  him  is  all  wrong,  he  might  not 
really  be  conceited.  Maybe  he  does  not 
even  feel  superior  to  the  other  people  in 
the  cast.  The  bored  indifference  with 
which  he  spoke  his  lines  may  be  only  the 
workings  of  genius.  However,  since  I 
make  no  pretense  of  knowing  the  answer 
to  these  puzzles,  I  will  have  to  simply  say 
nothing  about  the  glorious  Gilbert. 

Marti:  Price. 

San  Pedro,  California. 


pWHO  CAN  GET 
ME  OUT  ? 


13 


llT#?8OOO.00 


Come  to  my  rescue— QUICK !  I'm  HOPELESSLY 
LOST  in  these  treacherous,  trackless  catacombes.  I've 
tried  for  hours  to  find  the  right  path  to  freedom  but  here 
I  am  right  back  in  the  middle  again. 

Can  YOU  Find  the  Right  Path? 

Will  you  try?  A  THOUSAND  THANKS!— I  knew  you  would.  But 
first,  let  me  warn  you  that  THERE  IS  ONLY  ONE  PATH  to  freedom 
and  it's, — Oh!  so  hard  to  find.  It  starts  in  the  middle  where  I  am  and, 
WITHOUT  CROSSING  ANY  OF  THE  WALLS,  it  ends  somewhere 
on  the  outside  of  these  terrihle  catacombes.  I  hope  YOU  can  find  THE 
RIGHT  PATH  to  get  me  out.  If  you  do,  mark  it  plainly  with  pen  or 
pencil  and  send  it  to  me  quick.  IF  CORRECT,  I'll  see  that  you  are 
qualified  at  once  for  an  opportunity  to  win  as  much  as  $2320.00  cash  out 
of  the  $8,000.00  IN  REWARDS  that  I'm  going  to  give  away. 

$1,000.00  Cash  Just  For  Being  Quick! 

Yes,  I'll  positively  pav  ONE  THOUSAND  DOLLARS  cash  to  someone,  just  for 
being  prompt  and  duplicate  prizes  in  case  of  ties.  IT'S  ALL  FREE!  Anyone  may  try 
lor  nothing,    so   send   YOUR  answer   today.     Rush   it  I 

L.  SHULMAN,  37  W.  Van  Buren  Street,  Dept.    505,    CHICAGO,  ILL- 


14 


From  a  Broadway  music  store  to  the  swankiest  hotel 
in  Havana  .  .  .  Winnie  Lightner  and  Irene  Delroy  as 
amateur  gold  diggers  .  .  .  leaving  a  trail  of  roaring 


laughs  behind  them. 


With  the  most  gorgeous  gowns  ever  seen  in  one  picture, 
the  funniest  horse  race  ever  run  on  any  turf,  and  FULL 
COLOR  to  add  zest  and  sparkle  to  this  greatest  of  all 
laugh  pictures,  THE  LIFE  OF  THE  PARTI  hits  the 
high  spot  record  for  all  time  entertainment. 


•'  Vitaphone"  is  the  registered  trademark  of  The  Vitaphone 
Corporation.     Color    scenes    by    the    Technicolor  Process. 


°'AlOGl£     °?'G,NAL  STORY  Ay  MELVILLE  C* 

X  W  ADAPTATION  Ay  ARTHUR   CA*8 

DIRECTED  by  ROY  DEL  RUTH 


A    WARNER    BROS.sVITAPHONE     PICTURE 


15 


PICTURE  PLAY,  November,   1930      Volume  XXXIII      Number  3 


firace  Moore,  prima  donna  soprano  of  the  Metropolitan  Opera,  awaits  the  applause  of  filmgoers  in  her  debut  in 

the  role  of  Jenny  hind,  "the  Swedish  nightingale,"  who  was  brought  to  this  country  by  P.  T.  Barnum  in  the 

middle  of  the  last  century  and  who  created  a  furor  that  has  never  been  equaled.     The  picture  will  tell 

the  story  of  her  early  struggles  and  will  record  her  brilliant  triumphs,  with  Reginald  Denny  as  ' 

hero  and  Wallace  Beery  as  Barnum,  a  character  he  has  long  wanted  to  brim*  to  the  screen. 


16 


Gloria    Swanson's    versatility    is    too    great    for 
posterity  to  remember  her  in  one  role. 


Will  History 

When  the  movies  have  doubled  their  present  age,  what 
forgotten  quite?     Read  this  most  interesting  discussion, 

for  thirty 

By  William 

'This  famous  picture,  a  sensation  nine  years  ago,  is  to-day 
old-fashioned,  out  of  style;  and  the  magnetic  personality  of 
Valentino,  which  caused  such  world-wide  commotion,  seems 
something  belonging  to  a  bygone  age. 

Styles  change  each  year.  Tradition  had  painted  Rudy  as 
a  superman.     Too  much  was  expected. 

T  was  sadly  disappointed  when  I  heard  the  great  Melba  in 
"La  Boheme"  in  post-war  Europe.  The  same  disillusioning 
effect  was  caused  at  the  Theatre  Sarah  Bernhardt  in  Paris, 
when  "the  divine  Sarah"  gave  a  performance  of  Racine's 
"Athalie."  Instead  of  a  flaming  creature,  radiating  all  the 
passions  of  the  human  race,  I  saw  only  an  old  woman  carried 
on  and  off  the  stage.  Literally  a  ghost  of  the  fiery  personality 
she  had  impressed  on  the  public  mind  for  over  fifty  years. 

However,  let  us  consider  the  screen's  historical  figures. 

First  of  all  comes  Mary  Pick  ford.  Long  after  her  pictures 
and    her    actual    self    arc    forgotten.    Mary's    personality    will 

live  on. 

I  don't  know  whether 
Miss  Pickford  knew 
what     she     was     doing 


B 


UDDY   ROGERS   is  not  even  a  sweet 

memory  ' 


Mary  Pickford's  "eternal 

child"   will   always   be  a 

tradition. 


Greta  Garbo  can  no  longer  cause  box- 
office  lines  to  form,  nor  can  John  Gilbert. 
Xo  one  has  heard  of  either ! 

Gone  forever  is  the  peerless  Ramon  Xo- 
varro ! 

Clara  Bow  might  never  have  existed  for 
.all  her  name  means ! 

And  where,  oh  where,  are  Richard  Dix, 
and  Joan  Crawford,  and  their  types?  All 
vanished.     Not  even  phantoms. 

These  imaginary  unpleasant  remarks  be- 
come solid  facts  after  one  hard,  cold  question 
is  stated. 

Who  among  the  stars  will  go  down  in 
screen  history? 

To  answer,  even  to  suggest  this,  is  likely  in 
cause  the  majority  of  players  to  become  net- 
tled at  not  finding  themselves  mentioned  as 
figures  worthy  to  be  placed  in  the  archives 
of  the  screen. 

It  cannot  be  helped.  Better  tell  the  bitter  truth  right  now  and  get  it  over.  Up  to  the 
present  time,  not  more  than  six  or  seven  stars  stand  a  chance  of  being  remembered 
thirty    years    from    now.    when    movie    fans    hear    traditions   of    the   eighth    art. 

'flu-  stage  has  changed  little  in  the  past  fifty  years.  Opera  has  hardly  altered  in  one 
hundred  years,  except  in  style  of  music. 

But  the  movies  have  continued  to  change  ever  since  they  were  invented.  Every  five 
wars  has  brought  new  methods.  The  mechanism  of  the  camera  is  improved.  Lighting 
i--  worked  on  and  brought  into  higher  use.  The  technique  of  the  players  becomes  dif- 
ferent  with   each   change. 

Due  to  this,  reissue  of  ten-year-old  pictures  cannot  be  shown  without  causing  ridicule 
and  amusement.     They  are  interesting  only  as  curios. 

Not  long  ago  a  reissue  of  '"The  Four  Horsemen"  was  shown  in  Hollywood.  A 
huge  crowd  Hocked  to  see  it.  Afterward.  1  heard  many  young  people  say,  "Gosh! 
why  all  the  raving  about  Valentino?     T  saw  nothing  to  yell  about." 


Already  Pola  Negri  is  no  longer  in 

the  public  eye,  yet  a  few  years  ago 

she  was  its  focus. 


17 


R 


ememoer 


ber  1  k 


em? 


stars  will  be  on  memory's  honor  roll  and  what  stars 
and  then  decide  if  loyalty  to  your  favorite  will  endure 
years. 


H.  McKegg 


when  >ho  created  her  "eternal  child"  personality.  The  fact 
remains  that  this  personality  is  world-famous  and  is  always 
coupled  with  her  name  when  it  crops  up  in  any  connection. 

Imitators  can  never  aspire  to  cope  with  originals.  Mary's 
immortality  is  reflected  in  the  tact  that  each  country  has  its 
own  particular  "Mary  Pickford" — "The  Mary  Pickford  of 
Sweden,"  "The  Mary  Pickford  of  France,"  "The  Mary  Pick- 
ford  of  Venezuela." 

But  Mary  stands  alone.  The  rest  are  only  shadows  of  her 
tame. 

It  has  often  been  rumored  that  before  she  deserts  the  screen 
for  good  Miss  Pickford  will  make  one  great  dramatic  story. 
Even  if  this  occurs,  her  fame  will  never  rest  on  what  success 
it  attains.  She  will  he  remembered  only  as  "America's  Sweet- 
heart." the  eternal  child  she  portrayed  for  fifteen  years. 

Will  Greta  Garbo's  seductive  personalis  .  n  in  screen 

history?  By  no  means.  For  Garbo  is  not  the  first  of  her 
type.  The  original  al- 
ways carries  the  latin 
In  the  history  of  the 
screen  the  siren  will  al- 
ways he  personified  by 
Theda  Bara. 


Already     Thomas     Mei- 

ghan's    fans    have    found 

other  idols. 


Individual  as  she  is  to-day,  Greta  Garbo  must 
give  way  to  an  earlier  siren  in  screen  history. 


Theda  was  the  first  to  appear  as  the  fatal 
woman  of  the  screen — the  vampire.  Theda, 
clever  girl,  also  invented  weird  legends 
about  herself  to  fit  this  bizarre  personality. 
She  succeeded  in  creating  a  phantom  of  her- 
self— a  sorl  of  Frankenstein  monster  which 
eventually  crushed  her. 

Already  Theda  I'ara.  the  real  person,  is 
forgotten  by  the  present  army  of  fans.  His- 
tory does  recall  her  as  the  original  vamp. 
And  so  Theda  can  be  included  in  the  few 
who  will  possibly  achieve  screen  immor- 
tality. 

Charlie  Chaplin  will  decidedly  lead  the 
list. 

The    screen    had     had    comedians    before 
Chaplin  appeared  ;  but  no  great  artists  were 
among  them.     They  were  merely   funny  ac- 
tors.     Chaplin    created    his    famous    "little 
tramp."     In  him  he  infused   much  of  the 
pathos,  merriment,  and  tragedy  of  humanity. 
That  is  why  he  became  world-famous     why 
he   is   understood    so    well    in    foreign    lands, 
no  matter  what  the  language. 
Chaplin  the  man.  with  bis  own  peculiar  manners  and  mode  of  living,  will  be 
forgotten;   but    Charlie,   the   funny   little    waif    of    the    screen,    will    live    in    the 
history  of  his  art. 

Valentino  rode  to  fame  because  his  first  important  role,  in  "The  Four  Horse- 
men." came  soon  after  the  war  had  ended.     People  were  freeing  themselvi 
inhibitions.     Freud  was  read  and  discussed  in  public  instead  of  in  private.     The 
startling  word  "sex"   was  becoming  common   in   conversation. 

Poor  Rudy's  ability  as  an  actor  was  overclouded  by  the  sensuous  personality 
he  quite  innocently  created.     From  the  first  viewing  of  "The   Four   Horsemen" 
tino  was  coupled  with  sex  appeal.     Both  were  acknowledged  publicly  at 
the  same  time. 

Valentino's  career  was  tragic  at  every  turn.     He  hoped  to  win   fame  as  a  real 
actor.    But  his  acting  was  eclipsed  by  the  "great  love:"  impression  he  had  quite 


Rudolph  Valentino  may  live  as 

a    great    lover,    but    not    as    an 

actor. 


rs 


Will   History  Remember  Tkem? 


Theda  Bara's  career  was  short,  but  she 
brought  the  first  vampire  to  the  screen. 

inadvertently  created  and  to  which  the 
public  held  him. 

His  most  worthy  acting  was  his 
Juan  Gallardo,  in  "Blood  and  Sand." 
Yet  screen  history  will  forget  this  to 
single  out  his  romantic  role  as  the  young 
tango-dancing  Argentinean  in  "The 
Four  Horsemen.^'  Only  as  the  great 
lover  does  Valentino  live. 

Great  acting  alone  does  not  insure 
imperishable  memory. 

Pauline  Frederick  has  done  some 
outstanding  work  since  her  entry  into 
pictures.  But  who  can  name  any  of 
her  early  successes?  "Bella  Donna" 
and  "The  Eternal  City"  caused  a  stir 
when  they  appeared.  "Zaza,"  too, 
achieved  great  notice. 

To-day  these  old  pictures,  if  shown, 
would  he  considered  absurdities,  merely 
relics  to  illustrate  how  literature  was 
filmed  years  ago.  with  Pauline  Fred- 
erick, a   famous  stage  actress. 


"Madame  X"'  was  Miss  Frederick's  great  triumph.  Yet 
who  remembers  it  now?  Ruth  Chatterton's  recent  audible 
portrayal  blots  out  the  old  silent  version  from  the  public 
mind — just  as  some  future  actress  will  eclipse  Miss  Chat- 
terton's present  offering. 

Therefore,  Pauline  Frederick,  though  one  of  the  screen's 
great  players,  will  not  go  down  in  screen  history — merely 
because  she  has  never  created  a  definite  personality  to  im- 
print on  the  public  mind. 

The  same  can  be  said  of  Norma  Talmadge. 
Miss  Talmadge  belongs  to  screen  history  right  enough, 
but  like  Miss  Frederick,  she  does  not  stand  out  as  a  type. 
To-day  she  has  a  following,  because  she  is  an  admirable 
actress.  Yet,  if  Miss  Talmadge  stopped  making  pictures 
she  would  soon  be  forgotten,  because  the  public  has  no 
definite  impression,  no  particular  individuality,  to  remem- 
ber her  by. 

No,  good  acting  alone  does  not  insure  immortality.  Only 
the  original  personalities  of  the  screen  will  be  remembered. 
The  little  girl  with  golden  curls  brings  Mary  Pickford  to 
mind  right  away.  The  funny  little  tramp  recalls  Charlie 
Chaplin.  The  dark-eyed  romantic  fellow,  oozing  sex  ap- 
peal, is  instantly  compared  with  the  late  Valentino.  Just 
as  the  jumping  bean  of  a  player  causes  us  to  think  of 
Douglas   Fairbanks. 

Fairbanks'  pictures  will  never  go  down  in  history,  but 
his  dynamic  ability  will  keep  him  in  the  public  mind  as  the 
one  acrobatic  actor. 

Recently  one  of  his  early  pictures,  "The  Half-breed," 
was  shown  in  Hollywood.  This  film  was  accounted  as  one 
of  his  great  successes  when  it  first  appeared  some  fifteen 

years  ago.     During  its  revival 
•  the   audience  howled   through 

every  scene. 

It  is  safe  to  say  that  Mr. 
Fairbanks  will  become  an  his- 
torical figure  only  through  his 
acrobatic  personality  and  agile 
tricks  which  amused  little  boys. 
Whatever  earnest  thought  he 
gave  to  art  will  be  forgotten. 

Gloria  Swanson  first  became 
known  to  the  public  as  a  figure 
of  sartorial  splendor.  Of  act- 
ing there  was  none.  Alreadv. 
Gloria's  first  impression,  cre- 
ated in  her  old  Lasky  days, 
has  vanished.  Since  she  be- 
came a  real  actress  she  has 
erased  all  the  old  conception 
of  herself  and  her  ability.  No 
longer  can  we  say  of  any  one 
else  "She's  a  regular  Gloria 
Swanson  in  style."  That 
Gloria  Swanson  is  gone. 
This  old  personality  would 


Buddy  Rogers  and  Wallace  Reid  have  the 
same  historic  value. 


Admirable   as   an  actress,    Norma   Talmadge   has   exerted  no   influence   on 

the  screen. 


have  killed 
Miss  Swanson 
on  the  screen, 
but  it  would 
have  kept  her 
Continued  on 
page  104 


19 


At  the  Turn 
of  trie  Road 

With  nearly  twenty  years  of  stardom  behind 
her.  Norma  Talmadge  opens  the  book  of 
experience  to  reveal  what  glamour,  wealth, 
and  fame  have  given  her:  the  lessons  she 
has  learned,  the  defense  she  has  built  around 
herself,  the  compensations  she  finds  to-day. 

B?   Edwin  Schallert 

ONE  must  be  self-contained.     There  is  no 
other  way.    The  experiences  <>i"  life  tear  us 
to  tatters.     Acquiring  calm  and,  above  all, 
poise  is  our  onl  ir  only  defense." 

Norma  Talmadge,  high  priestess  of  the  emo- 
tional film,  thus  thing  down  the  gauntlet  on  emo- 
tion in  persona]  life.  Strangely  contrasting  with 
her  words  was  the  feverish  intensity  of  her  eyes 
and  manner.  She  had  become  tired  momentarily 
with  the  contemplation  of  her  career  and  of  her 
life.  She  was  the  vibrant  personality  that  has 
reached  a  public  far  and  near. 

We  were  in  her  bungalow  at  the  United  Artists 
studio.  It  was  shortly  before  her  departure  for 
Europe  on  a  long  vacation.  She  had  just  fin- 
ished '-nu  Barry,  Woman  of  Passion,"  and  was 
waiting  restlessly  to  be  off,  for  her  journey  was 
being  delayed  by  the  final  editing  of  the  picture. 

"Things  used  to  break  my 
heart:   they  don't  any  more  „.»£:. 

she  went  on.    "What's  the  use,  ^^ 

I    say   to   myself    now.    of    all 
this    frenzy,   this   madness 
hold  onto  something,  tbis  dread 
over    being    disappointed    be- 


Joseph    M.    Schenck,    her    hus- 
band, is  the  most  wonderful  of 
men  to   Norma. 

Pboto  by  I'hldnofT 


Things    used    to    break    her    heart,   but    they 
don't  any  more,  says  Norma  Talmadge. 


cause  you  want  a  certain  thing  and  find  it 
is  unattainable,  or  the  pain  of  being  de- 
prived of  what  you  cherish? 

"People  exasperate  me  when  they  let 
themselves  go,  when  they  get  into  a  mood 
of  frantic  excitement  and  worry  over  the 
things  they  desire — these  fits  of  tempera- 
ment and  depression,  this  craze  to  be  in  the 
public  eye,  this  madness  and  suffering 
about  continuing  on  with  their  careers,  this 
bitterness  over  an  unhappy  love,  this  eter- 
nal and  ofttimes  silly  attempt  to  remain 
youthful  when  they  have  passed  beyond 
that  stage.      It's  all   fantastic." 

Norma  had  lashed   forth  as  T  have  seen 
few    stars    do    in    her   denunciation    of    the 
insanities  of  ambition,  cupidity,  Hollywood 
juvenility,  and   so-called   tragedies  of  the 
heart.     She  was  speaking  in  the  midst  of 
a    world     where    individual    and     separate 
manias  of  this  sort  run  riot  as  they  do  no- 
where else.     Where  every  street  corner  is  a  jangle  of  hurls,  oppressions, 
deflated  hopes  and  ensuing  griefs.     And  where  emotion — at  the  summit 
pter  that   rules  a  giddy,  whirling  cinema   sphere. 
It  has  often  been  said  that  in  the  tumultuous  world  of  pictures  Norma 
Talmadge,  with  the  possible  exception  of  Garbo,  is  the  one  star  who 

to  be  herself.     There  are  others  who  essay  it.  but  they  su 
only  with  varying  degrees  of  affectation.     Norma  ■  ;  not. 

according  to  the  commonly  accepted   policy,  as  she  deems  expedient. 

philosophy  that  has  enabled   her  to  do  this,   and   that    i-   perhaps 


Travel    is    Norma's    great 
emotion  to-day. 


2  ) 


At  tke  Turn  of  the   Road 


l  nuto  by  Miehle 

After   "Du    Barry,   Woman   of   Passion,"   Norma   Talmadge   has 
two  more  pictures  to  make,  and  then  she  probably  will  retire. 


ing  at  night  once,  because  I  was  going  to  Coney 
I  sland  the  next  day. 

"When  I  was  at  the  old  Fine  Arts  studio  every- 
thing was  a  great  adventure.  We  were  never 
serious  about  anything.  Douglas  Fairbanks  and 
1  both  worked  there  at  that  time,  and  I  recall  that 
we  would  dash  across  the  street  to  a  restaurant 
we  called  the  'Dirty  Spoon,'  and  get  half  a  dozen 
malted  milks,  and  drink  them,  too.  We  would 
literally  fill  up  on  sweets,  but  would  we  dare  to 
do  that  now  in  this  age  of  diets? 

"We  laughed  over  anything  and  everything. 
We  didn't  care  about  people,  and  we  didn't  care, 
above  all,  how  we  appeared  in  public.  I  would 
look  freakish.  My  face  would  be  covered  with 
white  make-up,  and  my  neck  and  throat  would 
be  brown.  It  would  be  just  as  if  I  were  wearing 
a  mask.  But  nobody  seemed  to  pay  any  attention 
to  us  ;  we  were  gay  and  free.  To-day  none  of 
us  can  do  that,  even  if  we  want  to.  We  have  to 
conform  to  a  certain  standard.  Try  as  we  will, 
we  can't  be  fully  ourselves.  We  can't  go  where 
we  will,  and  do  what  we  please.  Think  what  it 
means,  for  instance,  to  be  deprived  of  the  fun  of 
shopping  downtown  without  being  recognized ! 
To  be  able  to  go  into  a  store  quietly,  as  if  you 
were  nobody  at  all — to  be  lost  in  the  throng!" 

Norma's  desire  to  be  lost  in  the  crowd  and  to 
be  unnoticed  has  been  borne  out  on  more  than 
one  occasion.  It  has  gone  to  the  extent  where, 
while  traveling,  she  has  assumed  another  name 
than  her  own. 

"The  public,  naturally,  has  so  often  insisted  on 
putting  stars  on  pedestals,  but  I  think  sometimes 
they  forget  that  there  is  a  human  side,"  Norma 
continued.  "They  criticize  us  too  readily  for 
what  we  do,  and  how  we  appear  before  them 
when  we  are  off  the  screen.     They  forget  that 


more  and  more  providing  her  with  the  courage  to  go  on 
with  it,  has  never  been  fully  expressed.  Nor  has  she 
ever,  to  my  knowledge,  told  exactly  what  her  own  indi- 
vidual attitude  is.     This  time  she  rent  the  veil  aside. 

"In  a  way,  it  is  easy  to  adopt  the  idea  of  not  caring 
when  you  have  worldly  riches  at  your 
command,"  she  explained.  "Perhaps 
my  sentiment  would  be  different,  wen 
I  not  assured  of  the  well-being  and 
comfort  that  money  can  bring.  Per- 
haps it  is  unfair  for  me  to  challenge 
others  who  may  not  be  so  secure  in 
this  respect.  I  suppose  that  in  a  sense 
all  the  bother  is  necessary 

"Nevertheless,  1  wonder,  and  al- 
ways shall,  about  this.  I  know  I  have 
changed  my  viewpoint  on  many  things 
since  I  started  in  pictures.  There  have 
been  compromises  not  only  with  people, 
but  with  myself.  I  have  had  to  give 
in  and  surrender  joys  that  used  to 
mean  much  to  me,  or  f  have  found  that 
the  same  sources  of  happiness  did  not 
exist  any  more. 

"There  was  a  time  when  everything 

u^-ed   to   thrill    me.      I    was  completely 

swept  off  my    feet   by  anything  that    1 

liked   very  well.      It 

might   be   a    role   in       Norma  says   that 

a  picture,  or  a  new      love   »■  .a  differ" 
,  .  •  •  ent     thing     -'or 

stage  play  in  New  stars>  beCause 
\  ork.  I  can  re-  they  live  it  on 
member    not    sleep-  the  screen. 


our  lives  are  so  utterly  different.  Why,  even  the 
romance  of  the  screen  is  bound  to  shape  our  actions  to 
a  large  extent.  Association  with  romance  makes  it  seem 
often  perfectly  conventional  to  us.  All  our  efforts  are 
concentrated  on  the  portrayal  of  emotion,  and  it  becomes 
an  ordinary  part  of  our  lives.     We  need  it  and  the  com- 


At   the  Turn   of  the   Road 


21 


panionship  that  goes  with  it.  Love  is  therefore  a 
different  thins  to  u>  than  it  is  for  most  people. 
Perhaps  that  i>  one  reason  why  the  romantic  side 
of  our  liv<  often  misunderstood. 

"My  feeling  for  Joseph  Schenck  lias  often  been 
misinterpreted.  There  is  a  deep  understands 
tween  n>.  To  me  he  is.  and  always  will  be,  the 
most  wonderful  of  men.  He  does  constantly  for 
others.  Nobody  can  know  it  better  than  I,  nor  how 
big  hi>  heart  is. 

e  understanding  between  us  goes  further  than 
mere  words.  Indeed,  we  often  sit  together  for 
hours  at  a  time  without  exchanging  a  word.  And 
that'*— she  smiled — "is  not  because  we  arc  bored 
with  each  other. 

"Let  this  fact  be  stated  once  and  for  all.  too.     I 

married  Mr.  Schenck  because  1  loved  him.    People 

inferred  that  it  was  because  the  marriage  was 

d  match,  but  that  was  not  the  case.     Joe  and 

w  up  together  financially.     When  we  filmed 

'Panthea'  it  was  a  chance  to   win   or  lose.      There 

obligation  in  that  sense— financially — and  he 

would  he  the  last  person  in  the  world  to  hold  such 

a  thought." 

Hollywood.  i*i  course,  has  often  been  abuzz  with 

rumors  of  an  impending  divorce  between  Norma 

and  Mr.  Schenck.  hut  she  herself  denies  that  this 

will  ever  happen.     These  rumors  have  arisen  from 

the  fact  that  she  and  Gilbert  Roland  are  frequently 

seen  together  in  public,  and  that  often   for  long 

nek  and  she  are  not  seen  together 

at  all.     However,  the  significance  oi  this  in  con- 

n  with  any  recourse  to  the  courts  is  scouted 

by   both    Norma    and    her   husband.      Indeed,    the 

given  out  by   Mr.   Schenck  just  after 

Nonna's  departure  for  Europe,  was  that  they  are 

both  deeply  fond  of  each  other. 

There  is  no  doubt  that  Norma  finds  a  pleasant 
friendship  in  the  in- 
stance    oi     Roland. 
They  go  to  the  o]>era 
and  -  equently 

her,  and  they 
Ixith  enjoy  motoring. 
"Me  is  a  charming 
and  attentive  chap." 
Norma  once  told  me. 
Roland  is  also  in 
Europe  coincident 
with  her  own  sojourn 

Companionship  al- 
ways has  meant  a  lot 

Norma,   and 
has    formed    friend- 
-    that   have   en- 
dured through  y- 
They    are    the 
important   thing  un- 
questionably,    aside 
from  her  devotion  to 
her  mother  and 

and  the  mutual 
understanding  be- 
tween herself  and 
Mr.    Schenck.      The 

Like  all  Norma's 
friendships,  her  asso- 
ciation with  Gilbert 
Roland  endures  in 
spite  of  gossip. 


by  Mitlile 

Norma  Talmadge  is  the 
who 


only  star,  with  the  exception  of  Garbo, 
dares  to  be  herself. 


circle  of  friends  that  she  pos- 
sesses is  not  a  large  one,  and 
she  disdains  parties  of  the  con- 
ventional type.  What  she  lo 
now  chiefly  is  conversation  in  a 
small  friendly  gathering.  She 
delights  in  travel,  too.  and  the 
freedom  and  placidity  of  a 
European  holiday.  '"I  always 
meet  so  many  interesting  people 
in  Europe,  and  we  have  such  a 
good  time."  she  said.  "I  think 
most  of  all  I  enjoy  the  picnics 
that  we  have  over  then-,  and  the 
restfulness  and  complacent  pace 
at  which  everything  moves. 
Travel  is  really  my  one  great 
emotion  to-day."  she  added. 

Norma  and  Fannie  Brice  are 
great  friends,  and  they  gen- 
erally find  plenty  of  reasons  to 
laugh    when    they   are    together, 

they  often  are  in  New  York, 
Paris,     and     even     Hollywi 
They    are    both    greal    CUt-ups. 
There  is  also  a  very  great    f( 
ing     of     friendship     bet«  i  en 
Norma  and  Douglas  Fairbanks 
dating  back  to  the  beginning 
their  work.     She  likes  his  demo- 
cratic spirit,  which  matches  her 
own. 

Continu<  <1  on 


22 


This  white  eve- 
ning gown  of 
Kay  Johnson's 
looks  as  well  in 
January  as  it 
does  in  June. 


It's  Smart 


Do    as    the    stars    are    doing    and    select    a 


B?  L 


aura 


themselves  more  readily  to  all 
seasons.  But  the  fact  remains  that 
I  no  longer  replenish  my  ward- 
robe four  times  a  year,  spring, 
summer,  autumn,  and  winter. 

"I  go  on  one  big  shopping  tour 
in  the  fall,  and  select  conservative, 
well-made  garments.  Then,  by 
adding  a  few  new  accessories  from 
time  to  time,  or  changing  a  flower 


Several     blouses     give 
Edwina     Booth's     black 
suit    an    entirely    differ- 
ent  appearance. 


IN  the  springtime  a  young  man's   fancy  turn.-,  to  thoughts  oi   love  and,  Ju>;  ::" 
surely,  in  the  fall  a  woman's  fancy  turns  to  thoughts  of  new  clothes.    Especially 
in  Hollywood,  where  costuming  plays  such  an  important  part  in  a  girl's  life, 
where  many  a  career  has  depended  on  just  the  right  hat. 

Bui  there's  a  bit;  change  this  year  in  the  way  most  of  the  players  are  selecting 
their  new  wardrobes.  There's  none  of  the  delirious  spending  ol  the  past,  no 
following  the    fads   of   the  moment. 

Instead,  most  of  the  girls  are  buying  with  their  eyes  on  the  calendar,  just  as 
we  all  should  do.  They  are  choosing  frocks,  hats,  and  accessories  that  can  be 
worn   all   the   year    round,   not    just    for   one    season. 

"It  may  be' the  California  climate  which  enables  US  to  dress  almost  the  same 
all   year,"    ban    Arthur   explains.      "Or   it    may   be   that   nowadays    clothes   adapt 


Ginger 
Rogers 
finds  her  flat 
crepe  dress 
equally  effec- 
tive in  both 
the  cool  and 
the  warm 
seasons. 


23 


to  be  Thrift 

new  fall  wardrobe  that  can  be  worn  the  year  round. 

Benham 


on  the  shoulder,  1  get  a  full 
year's  wear  from  every  di 

"Of  course.  1  have  certain 
rules  which  I  follow  in  select- 
ing my  clothes — rules  which 
every  ^irl  can  observe,  re- 
gardless of  the  section  oi  the 
:trv  in  which  she  li\  I 


By  adapting  wrap  and  hat  to 

the    season,    Dorothy    Jordan 

will  wear  this  frock  for  many 

months. 


Norma  Shearer's  black  evening  gown 
knows  no  season. 

Jean  Arthur's  printed  chiffon  is  just 

as   effective   under  a   frosty   moon   as 

under    sultry    summer    stars. 


"For  instance,  I  never  choose  light-colored  sports  clothes.  If  I  stay  within  the  medium 
shades,  deep  blues,  warm  hennas,  and  leafy  greens,  1  can  wear  my  little  knitted  suits  in 

any  season. 

"Printed  silks  are  another  boon  to  budgets.  Either  the  vivid  wall-paper  designs  or 
the  smaller  Dresden  figures  can  he  chosen  in  not-too-light  colorings.  And  by  varying 
the  weight  of  your  wrap,  you  can  live  the  year  round  in  a  printed  silk. 

"For  tvening,  chiffon  is  my   favorite  material,  in  either  solid  shades  or  sofl   designs. 
ince,  chiffon   is  in  reality  the  hardiest  of   fabrics  and  not  only 
H  wear  well,  but  it  retail  id  looks  until  it   falls  into  shreds.     And  a  chiffon 

effective   in   January   as   in   Jin:' 
worth  listening  n   when  she   talks  about  clothes.     Though  she  has  never 

splurf  has  long  been  recognized  of   the   best^dressed    of    the   yout 

in  the  picture  colony.     None  of  the   bizarre  exoticism         [Continued  on 


24 


No  trace  of  the  raw  girl  of  ten  years  ago  is  found  to-day  in 
Miss  Tashman,  except  the  name. 

THE  first  time  I  met  Lilyan  Tashman  she  was  playing 
a  minor  part  on  the  stage  in  "The  Gold  Diggers." 
She  had  been  a  showgirl  in  the  Ziegfeld  "Follies" 
for  a  couple  of  seasons  and  had  become  pretty  well  known 
in  theatrical  circles  in  New  York.  But  the  layman  had 
never  heard  of  her. 

Then,  all  at  once,  for  reasons  known  only  to  himself- — ■ 
certainly  none  of  the  metropolitan  critics  ever  succeeded  in 
fathoming  his  motives — David  Belasco  took  her  out  of  the 
chorus  and  gave  her  the  part  above  mentioned. 

It  was  Ina  Claire's  first  starring  vehicle.  Belasco  was  the 
producer,  and  it  was  the  first  play  Avery  Hopwood  had 
written  in  several  years  that  stood  a  ghost  of  a  chance  of 
success.  What  with  all  those  things,  the  atmosphere  back 
stage  during  the  try-out  performances  could  hardly  have 
been  described  as  serene.  Yet  Lilyan  moved  among  the 
throngs  of  people  with  overwrought  nerves  as  calm  and 
unruffled  as  Coolidge  at  a  hockey  game.  When  the  occasion 
demanded,  sin-  exchanged  insults  with  other  members  of 
the  company  without  losing  her  temper — much — and  con- 
tinued the  even  tenor  of  her  existence. 

On  meeting  her.  we  swapped  a  couple  of  jokes  and  called 
it  a  day. 

"The  Gold  Diggers"  finished  its  Broadwav  run,  toured 
for  a  season,  and  that  was  that.  When  it  closed,  no  more 
roles  were  offered  to  her  immediately,  and 
she  became  something  of  a  joke  along  the 
Main  Stem  as  the  chorine  who  had  gone 
dramatic  and  lost  her  perspective,  for  she 
refused  to  go  back  to  the  chorus.  She  was 
going  to  be  a  real  actress  or  nothing.  And 
for  a  long  time  it  looked  like  nothing. 


Sophistication  is 
simply  knowing 
what  to  do  and 
how  to  do  it,  says 
Lilyan. 


Photo  by  Bruno 


Hoxtf  Lilian 

This    is   not   an   easy   lesson    in   "smarting 
Tashman's    story    of    how    she    developed 

the  perfect 

By  Samuel 


The  next  time  I  saw  her  she  was  playing  the 
menace  in  a  movie.  I  don't  recall  the  name  of 
the  picture,  but  in  one  sequence  she  sailed  into 
the  lobby  of  the  Hotel  Astor  like  a  battleship 
under  full  steam,  quite  as  though  she  owned 
the  place.  Her  brashness  and  individuality 
were  both  astounding  and  amusing.  In  "The 
Gold  Diggers"  she  had  merely  seemed  hard 
boiled,  but  in  the  picture  there  was  an  at- 
tempt at  sophistication. 

Then  the  Eastern  studios  closed  down  and 
all  activities  were  transferred  to  the  West 
Coast.  If  the  West  Coast  was  the  place  to 
go,  that  was  where  Lilyan  was  going. 

The  next  I  heard  of  her  she  was  well  estab- 
lished in  the  movie  colony  and  making  'em  like 
it.  She  was  quoted  as  an  authority  on  clothes. 
And  then  on  entertaining.  And  then  on  books 
— and  furniture — and  etiquette— -and  on  almost 
anything  one  mentioned. 

Remembering    her    as    a    chorine    who    had 
nothing  but  a  quick  wit,  a  lot  of 
crust,  a  gift  for  stinging  repartee, 
and  later  as  an  embryonic  actress 
who  turned  out  to  be  something 
of  a  joke,  I  smiled  inwardly. 
Years  passed  and  even  I  came 
West.     We  won't 
go  into  the  matter 
of    why    or    how. 
Suffice  to  say  that 
a    park    bench    at 
night  is  very  much 
more   comfortable 
in  the  balmy  Cali- 
fornia air  than  in 
the  rigorous  New 
York  climate. 
Arrived  here,  an  occasional 
dinner    invitation    drifted    my 
way — thank  God.     And  at  the 
dinner   tables    it   was    "Lilyan 
Tashman  says  this,"  and  "Lil 
doesn't    think    so,"    and    all    I 
thought     -was,     "These     poor 
nuts.     They  must  be  awfully 
dumb  if  they  can't  see  through 
a  colossal  bluff  like  that." 

And  then  I  met  Lilyan  her- 
self— in  person.     And  all  my 
fondly  cherished,  memories  of 
her,   all   preconceived  notions, 
were    knocked    into    a    cocked 
hat.     For  the  poised  woman  I  met 
and  the  raw  girl  I  had  known  ten 
years   before  were  about   as  much 
alike  as  the   Prince   of  Wales  and 
Earl   Sande.     The  ex-Ziegfeld  girl 
and    the    Hollywood    fashion    plate 


Went  Sophisticated 

up."  but  our  girl  students  will  enjoy  reading  the 
poise,  taste  for  clothes,  and  the  knack  of  being 
hostess  or  guest. 

Richard   Mook 


had  the  same  name  and  the  same 
mother,  and  they  were  both  con- 
nected with  the  theater,  but  the 
resemblance  ended  there.  The 
Prince  of  Wales  and  Sande  both 
love  horses,  but  there's  a  differ- 
ence in  the  way  they  sit  them. 
Lib  an  bad  certainly  changed. 

And  1  began  to  wonder. 

"Sure."  she  agreed  readily 
when  I  broached  the  subject  to 
her.  "Suppose  a  kid  is  studying 
painting  and  you  look  at  some  of 
his  work.  You  think.  'Good 
Heavens!  If  that  poor  sap  is  a 
painter.  I*m  a  magician.'  Years 
pass  and  the  kid  keeps  plugging 
away  and  finally  he  lias  some  of 
his  work  exhibited.  He's  a  suc- 
cess and  you  rush  up  to  him,  be- 
cause you  always  remember  the 
people  you  knew  when — after 
they've  arrived — and  say,  'Great 
work,  old  fellow.  T  didn't  think 
you  had  it  in  you.'  " 

"But — but "  -I   stammered. 

"I  don't   see " 

.me  thing."  she  went  on. 
"The  kid  put  in  years  of 
grueling  work  and  study  be- 
tween the  time  you  saw  his 
first  efforts  and  the  time  you 
saw  the  finished  product. 
When  you  first  saw  me  I  was 
so  raw  and  green  I  didn't 
know  the  difference  betv. 
a  salon  and  a  saloon." 

"Well,   what   is  the  differ- 
ence?"  1  demanded. 

"One  has  an  extra  'o,'  " 
explained  briefly,  and  contin- 
ued. "All  my  life  I  wai 
to  be  a  sophisticate.  I  lived 
in  a  small  town  and  didn't 
know  just  how  to  go  about 
it.  But  I  used  to  take  the  simple  dresses  mother  bought 
me.  and  I'd  always  do  something  to  them  to  make  them 
plainer  and   perhaps   m  re — something   different. 

I  couldn't  have  defined  the  person   I  wanted  to  be.  be- 
cause I  had  never  heard  of  a  sophisticate,  but  the  urge 
•here  all  right,  all  right." 

"All  right,"  I  conceded,  "so  wh 

"Well.   I    becan 

"Yes,  hut   how?      You   were  a   long   way    from   home 

first  met  you." 
"I  studied,  just  like  that  boy  in  the  art  school  I  men- 
tioned.    I   managed   to  get   to  a   finishing  and 
from   there    I    graduated    into   the    'Follies.'      Ziegfeld 
saw  nv 


Cbolo  b)    Monro* 


■'-; 


"Yeah,    I've  heard  that  before,  too.'' 

"1    don't   care   whether   you   believe   it    or   not."    she 

retorted  quite  unperturbed.  "I  was  having  tea  with 
one  of  the  girls  from  school,  when  lie  >au   me  and 

sent  a  man  to  ask  me  to  eoiiie  over  to  his  table.  I  was 
quite  COCky  and  sent  word  hack  that  if  he  wanted  to 
see    me    he    should    come    over    to    my    table      and    he 

did." 
"But  you'd  already  left  the  'hollies'  when  I  nut  you 

and  von  weren't   sophisticated   then."   I    protested. 

"You   can    laugh   all    von    want    to,    bul    niv    idol    in 

thost-   days    was    Valeska    Suratt.      I'd    seen    her    in    a 

play,   and    I'd    seen   her    in    pictures   with    her   hair   all 

sleeked     hack     and     I     thought, 

'I  »h,  to  he  like  that!'     While   1 

was  playing  in  the  'Follies,' 
Fanme  Brice  took  me  up  to 
Suratt's  house  to  a  party  one 
night  and  that  finished  me." 

"I  should  say  it  started 
von,"  l  interposed,  but  she 
paid  no  attention. 

"It   came  to  me  that  nighl 
what  being  sophisticated  really 
meant.     I'd  thought  it  was  be- 
ing worldly-wise,  cynical,  blase, 
and  all  that  sort  of  thing.     But 
that    isn't   sophistication   at   all. 
Why.    right    now,    when     I'm 
supposed  to  be  ultra-sophisti- 
cated, T  can  get  as  excited  over 
a  dollar  handkerchief  as  I  ever 
could  over  a  ten-thousand-dol- 
lar  string  of  pearls.     No, 
phistication    isn't    that.      It's 
simply    knowing    what    to    do 
and  how  to  do  it.     I  mean  by 
that,     you     have 
the  knowledge  and 
experience  to  take 
care  of  almost  any 
^^  situation  that  may 
arise,     with     the 
proper   poise  and 
tact     and     self-as- 
surance    to     hack 
them  Up. 

"For  instance, 
say  that  when  I 
started  out  1  had 
a  good  sense  of 
taste  in  clothes.  \ 
knew  the  right 
thing  to  wear  in 
my  home  town, 
but  I  didn't  know 
the  right  thing  to 
wear  in  Xew  York. 
But  I  made  it  my  business  t<  tret  around  to  every  con- 
ceivable place  and  every  conceivable  kind  of  gathering, 
so  I  could  find  out.  Then  when  I  got  there  I  made  a 
point  of  studying  the  women  who  were  most  smartly 
gowned,  and  I  found  out  where  they  got  their  clothes 
and  why  they  wore  the  things  they  did.  I  didn't  copy 
my  clothes  from  them,  but  1  adapted  the  knowled 
my  own  use." 

"Then  you're  not  a  product  of   PatOU,  Chanel,  Worth, 
("allot,  belong,  and  Poirct  !"  I  exclaimed  in  mock  dismay. 

"Only    with    reservations.      I'm    a    self-made    prod 
whether  you  like  it  or  not." 
"Yeah,  I  like  it  all  rijjht.    Go  on."  I  encouraged  her. 
Continued  "ii 


"I  am  naturally 
shy  and  timid," 
says  Miss  Tash- 
m  a  n,  who 
doesn't  ask 
whether  you 
believe  it  or  not. 


20 


Supp 


Every  star  yearns  to  play  a  favorite  role  of  history  or 
tration,   they   dress   up   for   the   character   and  the 


W'alur  Pidgcon,  ibelow,  aspires 
to  play  Cyrano  de  Bcrgcrac, 
poet,  soldier,  and  lover,  ■who 
suffered  from  one  of  the  most 
disturbing  suppressed  desires 
of   all   time. 


d 


J  I 


Fay    Wray,    above,    makes    a    pert   Kiki, 
the  role  she  wants  most  to  play  some  day. 

Mary  Brian,  below,  sees  herself  as  Lady 

Babbie,    in    "The    Little    Minister,"    and 

we   applaud   her   already. 


Loretta  Young,  left,  would 
have  us  sympathize  with  Joan 
of  .Ire  as  she  visualizes  her, 
but  we  just  can't  think  of  any 
one  inhuman  enough  to  put  the 
torch  to  so  youthful  and  ten- 
der   a    Maid    of    Orleans. 


Desi 


esires 


fiction,  and  instead   of  suffering  the  pangs  of  frus- 
camera   relieves   their    inhibition. 

Douglas  Fairbanks,  Jr..  below,  h.i< 
a  yen  for  the  Puke  of  Reickstadt, 
better   known   as   "LAiglon,"   son 
of  Napol 


White,  below,  really  sug- 
gests Alice  in  Wonderland,  so 
by  all  means  let  the  little  woman 
play  her  and  pet  away  from  hot 
mammas,  showgirls,  and  the  like. 


Patsy    Ruth    Miller,    above,    with    her 

wit  and  sparkle,  has  every  right  to 
play  the  part  of  the  little  girl  who 
made  orange  selling  an  art — AY//  Gwyn. 


Compson,  above,  as  a 
Wagnerian  prima  donna  is 
something  to  make  Siegfried 

throw  away  his  sword  and  do 
the   Varsity    Drag,   but    Hetty 
■ip  for 
Bfunkilde. 


E  d  w  a  r  d    Nugent,    right. 
Ed- 

lo  Nugent',  whi  n  I  i 

liacc: 


28 


Synopsis  of   Previous  Installments. 

JANE  HAGGERTY,  an  American  girl  in  Spain,  is  induced  to 
to  Hollywood  by  Larrj  Bishop,  a  cameraman  abroad 
searching  i<>r  a  new  screen  type.  Upon  arriving  in  New  York 
she  is  feted  by  the  publicity  department,  thrilling  her  but  fright- 
ening her,  lest  her  pose  as  a  Spanish  beauty  he  shown  up.  In 
Hollywood  she  finds  that  the  studio  lias  no  definite  plans  for  her. 
She  cannot  see  through  her  difficulties,  and  wires  for  the  return 
of   Larry.     The  chaperon  tortures  her  with  gossip  about  Larry. 


Bab 


es  in 


A 


PART   III. 

WAKING  the  next  morning,  Jane  stretched  lux- 
uriously, loving  the  feeling  of  the  silken  coverlet 

against  her  bare  arms. 


Drawn    into    movies    as  *a    Spanish    beauty,    Jane 
directors'  wives,  encounters  some  real  Spaniards, 

while  the  studio 


B>>  Inez  Sabastian 


Then  suddenly  she  recalled 
that  something  unpleasant 
had  to  be  faced.  She  tried 
to  go  back  to  sleep  and  for- 
get it.  But  Mrs.  Markham's 
lugubrious  voice  seemed  to 
ring  in  her  ears — "If  it's  that 
Larry  Bishop  who's  cabling 
you,  I  knew  his  first  wife." 

"I  don't  believe  he's  ever 
been  married !  I  won't  be- 
lieve  "    But  Jane  stopped 

right  there.  After  all.  what 
did  she  know  about  Larrv  ? 
WvW  told  her  nothing  about 
himself,  really. 

She  wanted  to  be  angry 
with  him,  wanted  to  think 
that  he'd  been  purely  selfish 
in  shipping  her  over  here  to 
Hollywood  in  order  to  hold 
his  own  job.  But  she  just 
couldn't.  She  could  only  re- 
member his  deep,  thrilling 
voice,  the  way  he  had  smiled 
clown  into  her  eyes,  the  little, 
delightful  shiver  that  had  run 
through  her  when  he  held 
her  hand. 

She  rang  for  breakfast, 
and  hastily  took  a  shower 
while  she  was  waiting  for  it. 
The  stinging  cold  water  gave 
her  courage  for  what  lay 
ahead.  She'd  get  rid  of  that 
Markham  woman  right  away, 
contract  or  no  contract !  It 
was  a  relief  to  be  able  to  do 
something  definite,  at  least. 

Mrs.  Markham  brought  up 
the  tray  herself.  She  was 
almost  defiantly  cheerful,  but 
Jane  detected  an  uneasy  look 
in  her  eve. 

"I  went  down  to  the  mar- 
ket myself  this  mornin'  for  this  fruit,"  she  announced, 
carefully  balancing  the  tray  across  Jane's  knees.     "And 
1  picked  these  roses  for  you,  too." 

"An'  I  have  no  doubt  that  the  fruit  is  tasteless,  like 
all  the  terrible  California  fruit,  and  the  flower  isn't  having 
any  smell,"  Jane  replied  coldly,  with  her  best  Spanish 
accent. 

"Fruit's  bigger'n  what  comes  from  Florida."  replied 
Mrs.  .Markham.  still  a  California  booster,  in  spite  of 
her  fears  that   she  would  be  fired. 

"We  must  settle  our  affairs  now,"  Jane  continued, 
feeling  like  a  brute.  "What  I  have  say  las'  night  1  mean. 
ifou   are   to  go,  at    once." 

She  lay  back  against  the  pillows,  staring  at  the  tray, 


waiting  for  an  explosion.  But  none  came.  After  a 
moment  she  looked  up.  Mrs.  Markham's  whole  body 
had  slumped  despairingly,  and  her  hands  fumbled  to- 
gether, as  if  they  were  trying  to  cling  to  something  in 
this  black  moment,  but  could  find  nothing  substantial. 

"Well."  she  said  unsteadily,  at  last.  "Well,  I  guess 
it's  all  right.  I  been  fired  so  often  since  I 'come  out  here 
that  I'm  sort  of  gettin'  used  to  it.  Always  when  I  get 
somethin'  real  nice.  I  lose  it."  She  gulped  down  a  sob. 
"I  come  out  here  from  Peoria,  Illinois,  to  act.  and  I  kept 
almost  gettin'  jobs — why,  it  looked  as  if  maybe  I'd  have 
a  chance  at  the  part  Mary  Carr  had  in  'Over  the  Hill' — 
a  director  friend  of  mine  was  goin'  to  put  in  a  word  for 
me,  but  then  she  got  it  before  he  had  a  chanct — and — 


Hollywood 

Haggerty,  an  American  girl,  runs  the  gantlet  of 
and  hears  dark  hints  about  the  man  she  loves,  all 
delays  her  work. 


Ill  us  t> 


As  the  music  stopped  a 
dark  young  man  appeared 
before  Jane,  and  at  his 
first  syllable  her  body 
grew  rigid  with  fear. 


well .She  threw  out  one  hand  in  a  pathetic,   nitile 

arted  abruptly  toward  the  door. 

Jane  leaped  out  of  bed  and  ran  across  the  room,  her 

filmy  r.  I  uttering  about  her  in  a  rosy  cloud.     She 

v  what  that  desperate  haste  meant ;  she  had  so  often 

hurried  from  a  room,  in  the  old  days,  hoph  out 

of  it  bef 

She  threw  her  arms  around    Mr-.    Markham's  bulky 
figure. 

"You're  not  to  g  ried.  her  voice  choking  with 

'ay!      I   couldn't    yet    along   without 
you!     I  want  you  fa  '  you.     Oh.  don't  cry!     For- 

n't  you.  and 
She   wept   on    M  rkham's   shoulder,   and 


29 


Markham  wept  on  hers.  Abandoned  to  comforting  cry- 
ing, neither  heard  the  telephone's  clamot,  until  a  maul 
popped  her  head  into  the  room  to  exclaim  "Telephone!" 
in  scandalized  accents;  -he  had  worked  to<i  long  in  llol 
lywood  ii"t  to  know  the  probable  importance  of  early 
calls, 

Mrs.  Markham  thrust  Jane  aside  and.  -till  sniffling, 
plodded  to  the  desk. 

"Yes?"  she  exclaimed  into  the  phone,  with  much 
dignity.  "Yes,  this  is  hei  residence.  Yes.  <  >h,  the 
studio!"  The  dignity  vanished.  "Sun.  What  time? 
All  right,  I'll  tell  her." 

"What  is  it?    What  is  it?"  cried  Jane  impatiently. 

"They  want  you  to  work  to-day!"    Mrs.    Mark- 

ham    exclaimed    importantly.      "Ain't    that    great? 

Wear  your  blue,  dearie,  and  I'll  lend  you  m\  orange 

You'd  really  OUghta  have  a  touch  of  color!" 

Jane   avoided   accepting  the   hay.   but    when   she 

finally  left  she  was  burdened  with  a  make  up  box 

that  Mrs.  Markham  was  sure  would  bring  her  luck. 

She  said  it  had  been  used  by  Janet  Gaynor  when  she 

did  "Seventh  Heaven,"  and  contained  a  lipstick  that 

had  touched  Gloria  Swanson's  lips,  and  a  stick  of 

grease   paint   that   had   once   belonged   to    Rudolph 

Valentino. 

Jane  doubted  every  word  of  that  tale,  but  took  the 
battered  box,  nevertheless.  Later,  when  she  dis- 
covered  that  the  bigger  the  star,  the  more  battered 
the  candy  box  used  for  make-up,  she  was  thankful 
that  she  hadn't  rushed  out  and  bought  a  new  one, 
though  the  tin  receptacle-  sold  all  over  town  cer- 
tainly looked  more  professional. 

At  the  studio  she  was  turned  over  to  a  make-up 
girl,  to  her  hitter  disappointment.  She  had  been  dili- 
gently practicing  with  grease  paint  and  eye  shadow 
ever  since  she  left  Majorca.  A  hairdresser  took  her 
in  hand,  and  the  costume  department  had  a  series  of 
shocks  for  her.  She  was  draped  in  a  Spanish  shawl, 
which  left  so  much  of  her  hack  hare  that  she  blushed 
when  she  saw  her  reflection. 

"Now,  listen,  honey,  if  Corinne  Griffith  was  will- 
ins,''  to  show  her  leys  in  pictures,  you  certainly  can't 
refuse  to  show  yours  !"  tin-  designer  told  her.  "They 
ain't  bad" — glancing  at  them — "hut  you  better  gel  a 
masseuse  to  take  out  the  lumps.  Look  what  was 
made  out  of  Alice  White's!" 

A  pretty  girl  who  was  being  fitted  with  an  eve- 
ning gown  whirled  around  to  face  Jane. 

"Don't  you  let  them  yet  started  making  you  over!" 
-he  warned  her.     "I  was  good  enough  to  land  in  the 
'Follies'  in  New  York,  hut  when   I  came  out  here — 
under  contract,  too — they  started  in  on  me.      I  went 
to  a  dentist  for  weeks,  having  my  teeth  straightened. 
Somebody    didn't    like    the    curve    of    mv    jaw.    and 
somebody  else  thought  my  ankles  needed  improving, 
and  I  had  to  take  voice  lessons,  and — well.   I   feel  as 
if  they'd   taken  a  lot  of   part-  and  assembled   them, 
and   1  wasn't  myself  any  more." 
"And   your   hair's,   the    wrong    -hade    for   Technii 
now!"    dispassionately    observed    the    woman    who    ■ 
fitting  her. 

"Well.    1 "   Jane   began,   hut    a    vank   at    her   back 

hair    silenced    her.      A    huge    Spanish    comb    was    being 
•  ned  to  her  head.     It  weighed  at  least  ten  pounds, 
'ire,  and  one  of  the  prongs  stuck  into  her. 
She  tottered   away  on   impossibly    high    heels,   in   the 
wake  of  a  brisk  young  man  who  had  been  senl  to 

-he  expected  to  walk  onto  a  large  set,  with 
an  orchestra  playing,  and  mobs  of  extras  awaiting  her 
arrival.      Instead,   the   set    was   tiny,   a   mere  |-in 

corner,  and  there  was  no  one  present   hut  a  cameraman 

''J 


30 


Photo  by  l-'iycr 
Dorothy  Mackaill  skipped  off  to 
England,  leaving  her  lawyers  to 
fight  with   First   National. 


IT  was  the  day  after  the  long- 
heralded  opening  of  "Hell's 
Angels."  and  all  through 
Sardi's,  the  Algonquin,  and  the 
Ritz  one  heard  people  talking 
about  practically  anything  else. 
The  result  of  three  years  of 
effprt  and  four  million  dollars 
expenditure  was  greeted  with 
almost  abysmal  indifference. 

"Ginger  Rogers  looked  cute, 
didn't  she?"  Fanny  the  Fan  re- 
marked when  I  finally  found 
her  in  the  more  subdued  qui- 
etude of  the  Warwick  Hotel, 
after  trailing  her  all  over  town. 

T  had  heard  her  imitation  to  tea,  shouted  through  the 
milling  crowds  in  the  lobby  the  night  before,  but  her 
mention  of  time  and  place  had  been  drowned  out  by 
Ruth  Elder's  frantic  efforts  to  hail  Ben  Lyon. 

"And  was  that  (///that  impressed  you?"  1  asked,  stunned, 
I'll  admit,  because  lately  Fanny  has  become  such  an 
apostle  of  sweetness  that  she  can  find  good  in  anything. 


er 


"Oh,  no,  I  was  tremendously  impressed  that  Ben  Lyon 
rushed  all  the  way  from  California  to  he  here  on  the 
opening  night,"  Fanny  hurried  to  assure  me.  "Ben  must 
have  developed  a  morbid  streak  that  he  should  want  to 
see  another  audience  watching  that  picture.  Or  maybe 
he  just  thought  he  owed  it  to  Howard  Hughes  to  be 
present  to  console  him." 

"Now,  now,"  I  objected,  "you  know  it  wasn't  that  bad." 
"Isn't   it?     And   you're   the  one   who   said   in   a   loud, 
coarse  voice  at  the  end  of  the  first  half  of  the  picture, 
'I'll  take  the  rest  in  cash!'  " 

"Maybe  I  was.  I  felt  that  some  one  in  the  theater 
ought  to  be  talking  about  the  picture,  instead  of  crabbing 
because  it  was  a  warm  night,  too  warm  for  Billie  Dove 
to  make  an  appearance  in  the  ermine  cape  with  a  long 
court  train  that  Howard  Hughes  is  said  to  have  given  her." 
"Of  course,  the  air  scenes  were  marvelous,"  Fanny 
granted,  as  if  conferring  a  favor  on  some  one.  "I  did 
get  a  thrill  out  of  seeing  the  Zeppelin  nosing  its  way 
through  clouds.  But  all  the  magnificent  photography  in 
the  world  couldn't  make  up  for  the  ham  acting.  Douglas 
Gilmore's  part  stood  out  like  a  bit  of  genuine  Barrymore 
in  a  large  evening  of  high-school  dramatics.  And  Jane 
Winton  made  a  lot  out  of  the  brief  flash  she  got." 

"'Was  Jane  in  the  audience?"  I 
asked,  still  more  interested  in  the 
social  aspects  of  the  premiere  than 
the  significance,  if  any,  of  the 
picture. 

"I  didn't  see  her." 
Fanny's   tone    reeked   of   disap- 
pointment. 

"And  I  wanted  to  congratulate 
her  on  her  part.  That  I  could  do 
sincerely.  Not  that  she  would 
care,  now  that  she  was  retired 
from  the  screen.  There's  fate  for 
you.  A  long  time  ago,  when  Jane 
acted  those  scenes,  she  counted  a 
lot  on  making  a  hit  in  this  picture, 
and  having  other  parts  come  as  a 
result  of  it.  And  during  the  long 
wait  for  the  picture's  release  she 
got  divorced,  married  again,  and 
retired  from  the  screen.  Now  that 
she  doesn't  want  jobs,  they  will 
probably  be  offered  to  her  on  all 
sides." 

Before  Fanny,  could  break  down 
and  cry  about  it,  I  sought  to  dis- 
tract her  attention. 

"I  thought  Jean  Harlow  rather 
pretty,  didn't  you?"  I  ventured. 
"Well,   yes,"    she  admitted,   "in 
an  alley-orchid   sort  of    way.     When   she  gets  camera- 
wise  slie  will   look  much  better.      She  will  have  to  stay 
away  from  drawing-room  roles  with  that  voice,  though. 
"Audiences  are  getting  particular  about  voices.     Look 
at  the  way  they  rally  around  girls  who  have  really  good 
ones.     Claudette  Colbert  and  Kay  Francis,  for  instance. 
Miss  Harlow  has  a  beautiful   figure,  but  so  have  thev. 


If   you    don't    rave    about    Ilka    Chase,    you 
aren't  one  of  the  select  many. 


31 


eaajps 


Fanny  the  Fan  sees  a  big  year 
ahead  for  fans  in  New  York, 
and  important  changes  in 
motion  pictures'  Who's  Who. 


She  has  the  advantage,  of  coarse,  of  being 
very  young,  but  after  all.  Claudette  Colbert  and 
Kay  Francis  aren't  exactly  doddering. 

"And  speaking  of  voices,  just  wait  until  Ilka 
Chase  gets  a  role  that  really  gives  her  a  chance. 
Stop  me  it  1  begin  to  babble  about  temple  bells. 
and  fountains  in  the  moonlight,  and  string 
quartets,  hut  I've  never  heard  anything  as  facile 
and  lovely  as  her  speaking  voice.  Of  course. 
I  adored  her  in  'Paris  Pound.'  Her  part  was 
hardly  more  than  a  bit.  but  she  brought  gusto 
and  humor  to  it.  Even  though  Fox  has  her 
under  contract,  they've  blindly*  lent  her  around 
here  and  there  to  other  companies  and  let  her 
play  inconsequential  roles.  I've  heard  so  main 
people  raving  about  her  lately,  though,  that  1 
think  there's  hope  of  seeing  her  in  a  really 
important  role. 

people  who  are  difficult 
for  casting  directors  to  classify.  She  isn't  the 
shopgirl's-delight  type,  at  all.  She  just  isn't 
one  of  the  people  trying  wistfully  to  be  some- 
thing better.  And  she  isn't  the  drawing-room- 
or-die   type   that   they   ex- 

:  of  a  girl  who  v. 
brought  up  in  good  schools 
and  sophisticated  company. 
She  isn't  conventionally 
pretty.  She  has  1<  ' 
vitality  and  uses  slang 
without  an  apologetic  air. 
and  even  though  casting 
directors  know  the  best 
people  are  really  like  that, 
they  hesitate  to  try  to  con- 
vince an  audience  of  it. 
ey  cast  her  as  a  good- 
hearted  chorus  girl." 

Before  I  could  ask, 
"And  when  did  all  this 
come  over  you?"  she  went 
blithely  on. 

"Ever  ~ir.ee  I  saw  her 
in  'The  Florodora  Girl' 
and  Paris  Bound'  I've 
wanted  to  meet  her. 
when  I  heard  she  was 
working  at  the  Paramount 
studio  on  Long  Island  I 
got  a  friend  of  hers  to 
take  me  over.  She  was 
all  decked  out  in  acres  of 
apricot-colored  tulle  wait- 
ing to  be  called  on  the  set, 

and  she  had  been  waiting  so  long  she  had  fallen  asleep 
sitting  bolt  upright.  And  not  even  a  pillow  behind  her 
head. 

"You  would  think  that  in  that  vast  warehouse  of  a 
studio,  they  could  at  least  give  a  f^irl  a  dressing  room 
with  a  window  in  it,  but  all  Miss  a  cell 

with  a  dressing  table  and  one  wicker  chair. 


Photo  by  Hurrcll 


Joan    Crawford    has    another    big    hit    in    "Our 
Blushing  Brides." 


' 


''She  chats  hilariously  about  people  and 
things,  being  entertaining  without  getting  ma- 
licious. And  she  rates  a  great  big  wreath  of 
laurel  because  she  never  speaks  of  tin-  kindm 
of  the  dear  directors  she  has  worked  for,  or 
what  a  big  happy  family  the  studio  is. 

"Incidentally,  she  has  the  most  exquisite 
hands  you  ever  saw.  And  she  wears  clothes 
beautifully." 

I  decided  that  it  was  safe  to  assume  from 
all  this  that  Fanny  liked  her. 

"lUhe  Daniels  had  sent  her  a  Spanish 
grammar  to  study,  and  I  hope  Bebe 
won't  hear  of  it  if  I  mention  that  that 
1^..  was  what  she  went  to  sleep  over.  .Miss 
Chase  speaks  a  little  Spanish,  but  wanted 
to  brush  up  on  it.  Bebe  inclosed  a  note 
with  the  book.  'Be  letter-perfect  in  this 
when  you  come  hack  to  California.  We 
:it  you  to  play  the  Spanish  version  of 
"Ten  Nights  in  a  Barroom." '  Mi-s 
Chase  is  just  the  sort  of  girl  Bebe  would 
adore,  and  I  can't  say  more  for  any  one. 
"Miss  Chase  likes  California,  hut  she 
hasn't  gone  native  at  all.  She  doesn't 
ride,  or  swim,  or  get  athletic  in  any  lar^c 
way.  and  ^hc  refuses  to  get  sunburned 
for  fear  of  looking  like  'Kid  Chocolate.'  She'll  he  'way 
ahead  of  all  the  sunburned  tribe  next  winter  when  Dolly 
Varden  styles  and  whitewashed  complexions  come  back 
into  favor. 

"The   studio   i>   getting   read)    to    start    'The    Royal 
Family,'  and  they're  appointing  vigilance  committet 
yet   Ina  Claire  there  on  time.     That   i-  one  of  the 


Vilma  Banky 
will  appear  on 
the  stage  after 
a  visit  to  Hun- 
gary. 


32 


Over  the  Teacups 


Ina   Claire  has   arrived   in   New   York 

to    play    in    "The    Royal    Family"    in 

films. 

difficulties  of  making  pictures  with 
Miss  Claire.  She  is  marvelous  when 
she  works,  but  just  try  to  get  her. on 
the  set  before  the  matinee  hour!  Al- 
ways gracious  and  willing,  but  she 
just  isn't  there  when  called.  Or 
wasn't  at  the  Pathe  studio,  at  least. 

"Do  you  realize,"  Fanny  demanded 
intently,  as  if  she  were  taking  a  straw 
vote  on  something  or  other,  "that 
stage  people  and  film  people  have  be- 
come so  intermingled  lately  that  you 
can't  get  up  a  good  feud  any  more 
over  which  is  better?  I'm  willing  to 
bet  that  in  another  year  there  will  be 
very  few  performers  who  don't  work 
both  on  the  stage  and  screen.  Just 
look  at  the  announcements  for 
season." 

That's  about  all  that  the  the- 
ater-ticket scalpers  do  give  a 
person  a  chance  to  look  at! 

"Colleen  Moore  is  going  on 
the  stage.  She's  coming  East 
very  soon  to  appear  in  a  play 
of  Benjamin  Glazer's.  1  te 
used  to  be  a  playwright  before 
he  became  a  scenario  writer. 
After  Colleen  is  well  launched. 
Vilma     Banky    and     Rod     I. a 


riiulu  by  Hall 


Joan  Peers  made  the 
best  of  a  frugal  role 
in    "Rain    or    Shine." 


Rocque  will  do  a  play  together.  Anita  Loos  and 
John  Emerson  wrote  theirs,  which  is  a  good  break 
for  them.  I  always  said  that  Yilma  should  play 
high   comedy." 

"You  and  four  thousand  others,"  I  reminded 
her. 

"And  then  Mary  Pickford  is  going  on  the  stage," 
she  went  on.  "That  is,  always  provided  that  she 
can  find  a  play  that  suits  her. 

"Vilma  passed  through  New  York  a  few  weeks 
ago  on  her  way  to  Hungary  to  visit  her  family. 
but  she  didn't  pause  here  long.  Dorothy  Mackaill 
was  in  town,  but  only  long  enough  to  catch  a  boat 
to  England.  She  skipped  away  from  California, 
leaving  her  lawyers  to  fight  with  First  National 
over  her  last  month's  salary.  She  wouldn't  play 
the  part  they  wanted  her  to,  because  she  contended 
that  it  was  secondary  to  Warner  Baxter's,  and  as 
she  wouldn't  go  to  work,  they  held  up  her  salary. 

"They  would  really  like  to  get  her  back  under 
contract,  as  Dorothy  is  very  popular,  but  com- 
panies hate  to  give  in  on  a  thing  like  that.  If  a 
girl  won't  do  as  she's  told,  they  hesitate  to  shell  out 
thousands  of  dollars*  and  sometimes  I  don't  blame 
them.  I  haven't  seen  the  part  though,  so  I  don't 
know  whether  Dorothy  was  just  disagreeable  or 
wise.  Having  seen  some  of  the  rubbish  they  have 
put  her  in,  though,  I'd  hazard  a  guess  that  Dorothy 
was  right  when  she  thought  the  part  terrible. 

"I  felt  so  sorry  for  Joan  Peers  the  night  'Rain 
or  Shine'  opened.  She  played  the  lead,  but  there 
just  wasn't  anything  to  the  role.  With  all  her  quiet 
sincerity,  she  couldn't  make  anything  of  it." 

"Who  ever  noticed  the  leading  woman  in  a 
comedian's  picture,  anyway?"  I  asked.  "It  should 
be  enough  to  get  a  genially  mad  picture  once  in  a 
while.  Don't  show  your  ingratitude  for  such  great 
favors  by  wishing  the  heroine  had  had  a  chance  to 
pat  little  children  on  the  head,  or  carry  a  basket 
to  the  poor." 

"And  I  felt  terribly  sorry  for 
Janet  Gaynor  when  I  saw  'Common 
Clay,'  "  Fanny  went  on,  ignoring 
me. 

"And  just  what  did  Janet  have  to 
do  with  that  picture?" 

Fanny  must  be  getting  feeble- 
minded when  she  confuses  Janet 
with  Constance  Bennett. 

"Oh,  you  don't  know  anything!" 
she  wailed,  despairingly.  "Don't 
you  ever  read  the  papers?  That's 
the  picture  Janet  wanted  to  do,  and 
when  Fox  wouldn't  let  her  play  the 
part,  she  walked  out.  It's  a  grand 
old  melodrama,  and  I  don't  blame 
her  for  wanting  to  play  it.  Con- 
stance Bennett  tore  into  the  big 
scenes  and  seemed  to  lie  having  the 
time  of  her  life  acting  in  the  best 
old  ten-twenty-thirty  manner. 

"Miss  Bennett  has  ironed  out  her 
difficulties  with  Pathe  and  is  start- 
ing work  on  'Sin  Takes  a  Holi- 
day. 

"You  don't  suppose,  do  you?"  I 
asked,  without  any  thought  of  rais- 
ing an  unpleasant  suspicion  in  any 
one's  mind,  "that  the  author  or  pro- 
ducer was  at  all  swayed  by  the  great 
success  of  Goulding's  'Devil's  Holi- 
day'  ?" 


Over  the  Teacup 


33 


"Slightly.     But  I  think  that  audiences  would  find 
the  picture  more  appealing  it"  the  title  suggested  that 
virtue  was  taking  a  holiday  rather  than  sin.     Miss  Ben- 
nett doesn't  just  impress  me  as  the  type  to  play  i 
tures  ft"  sweetness  and  li^ht.    T«>  me  she  is  much  more 
interesting  when   she   is   sullen   and   willful.     She   is 
tremendously  popular  with  women,  and   I   think  the) 
Id  rather  not  have  whitewashed  heroines. 
"lust  look  at  the  Row  theater.     Ver)    u  u   pictures 
there  more  than  a  week,  and  here's  Constance  Ben- 
nett, in  •Common  Cla\ .'  still  going  strong  in  the  third 
week.      I    can   hardly    wait    to   see   her   with    Erich    von 
eim,  in  "Three  Faces  East.'    It  any  one  can  watch 
her    while    he    is    on    the    screen,    then    I'll    know    she's 

"\Yh\  doesn't  Janet  go  on  the  stage?"  1  asked  plain- 
tively, still  more  interested  in  my  old  favorite-. 

Ih,  I  forgot  to  tell  you.  She's  made  up  with  Fox 
and  is  returning  to  make  'The  Man  Who  Came  Back,' 
with  Charlie  Farrcll.  I  suppose  that  sheer  boredom 
from  doing  nothing  made  her  go  to  the  studio  and 
apologize  for  walking  out  mad.  even  though  she  still 
felt  that  she  was  right.  After  all.  working  in  silly  pic- 
-  is  more  exciting  than  not  working  at  all.  And 
it  can't  have  been  much  fun  to  stand  by  and  see  them 
making  ambitious  plans  for  Maureen  O'Sullivan. 

"Little  Sally  Phipps,  who  started  at  the  Fox  studio 
about  the  same  time  Janet  did.  hut  who  never  |Ot  very 
far.  is  rehearsing  for  her  stage  debut  here  in  New 
York.  And  Diane  Ellis,  who  was  another  of  the  Fox 
junior  players  with  Janet,  is  working  for  Paramount. 
in  Nancy  Carroll's  picture.  She  may  stay  here  and  go 
on  t! 

"I   don't   even   remember  them."   I   in- 

I  sulkily.     "I  lik  old,   familiar 

faces    when    I    go    t"   pictures.      Familiar. 

that  is:  I  don't  like  them  particularly  old." 

"Well."  Fanny  went  on  grimly,  "you're 
to  have  a  hard  time,  even  though  there  are 
evidenth  others   who    feel   as 

do.  The  other  night  when  'Moby  Dick' 
opened,  they  ran  a  picture  introducing 
■  of  the  Warner  featured  players,  and 
one  dull  or  unfamiliar  figure  after  another 
stalked  across  the  screen.  When  Douglas 
Fairbanks.  Jr..  and  Louise  Fazenda.and 
Marian  Xixon  came  on.  the  audience  was 
so  relieved  to  see  some  one  they  knew, 
they  hurst  into  cheer-.' 

Fanny   is   likely   to   sound   like   a   whole 
cheering  any  time  she  sees  I '  itiglas,  Jr. 

"And    last    night    at    'Hell's    Angi 
Fanny  babbled  on,   "it   was  all   very  con- 

the  autograph  hunters. 
They  wandered  around  in  a  daze 
during  the  intermission,  going  up 
to  people  and  asking.  'Are  you 
some  one  important  ?' 

"It  i-n't  like  the  old  days  when 
fan  saw  a  player  dozens 
thro  -  ir    and 

could  spot  any  pic- 
ture    celebrity     on 
t.  Well,  at  1( 
in  Crawford  still 
makes  pictr 

Jane  W  i  n  t  o  n  di- 
vorced, married,  and 
said  farewell  to  her 
career  while  wait- 
ing to  be  seen  in 
"Hell's   Angels  " 


Constance  Bennett  stooped  to  ten- 
twenty-thirty   melodrama   with   success. 

ularly  and  has  a  big  following,  though 
just  how  long  it  will  last  if  they  keep 
on  putting  her  in  that  series  of  shop- 
girls' delights  is  hard  to  tell.  The 
audience  simply  howled  when  they  saw 
the  limine  that  was  supposed  to  he  built 
in  a  tree  in  'Our  Blushing  Brides.'  In 
the  exterior  scene,  it  seemed  to  l>e  jusl 
a  modest  shack,  hut  when  the  inside 
was  shown  the  room  had  cavernous 
depths.  It  w;is  an  art  director's  night- 
mare if   I   have  ever  seen  one." 

"Maybe  it'-  a  tribute  to  Joan's  dis- 
position or  something  that  she  didn't 
start  a  row  and  walk  out  when 
-he  -aw  that  set."  I  suggested. 
'Doesn't  -he  ever  fight  with  the 
studio  about  anything?" 

( !ome  to  think  of  it.  Joan  is  the 
only     ver\  -ful     star     who 

doesn't  have  a  good  rousing  fight 
with  her  employers  every  now  and 
then. 

"According    to    all    accounts," 

Fanny    informed    me.    "she    ha-    a 

■  ct    studio    disposition, 
may  bristle  occasionally,   hut    -he 
her  disappointments  off  to  a 
tinued    on    pagi     113 


34 


Lupe   Velez  wants   to   kiss   the  fans   who  say  nice   things   of   her,   she   told 

Madeline  Glass. 


Lupe  D 


enies 


All 


When  the  fiery  Lupe  Velez  reads  things  interviewers  write  of  her, 
she  says,  "I  will  kill  that  man!"  But  being  a  much  tamer  girl 
than    she    is    painted,    she    turns    to    "What   the    Fans    Think"    for 

something  nicer. 


By  Madeline  Glass 


ACCORDING  to  Lupe  Velez,  many  of  the  maga- 
zine writers  are  direct  descendents  of  the  one  and 
only  Ananias.  Tsh.  tsh.  tsh  !  Them's  fightin' 
words.  Lupe ! 

"They  come  to  see  me;  expecting  me  to  be  wild  and 
give  them  a  thrill,  and  when  I  disappoint  them,  they  go 
away  and  write  things  I  have  not  said." 

1  Ter  disillusioned  Oriental  eyes  gazed  into  space,  elo- 
quent shoulders  shrugged  indifferently,  while  her  slim 
brown  hands  spread  in  philosophical  surrender. 

"When  I  read  the  things  people  write  about  me  I  say 
to  myself.  'I  will  kill  that  man!'  Then  I  decide  not  to 
kill  him.  No,  T  decide  to  say  nothing  and  let  my  deeds 
speak  for  themselves." 

At  the  very  outset  T  wish  to  make  it  clear  that  I  am 
taking  no  side  in  this  disagreement.  To  indict  the  sacred 
profession  of  journalism  would  he  unethical;  yet  on  the 
other  hand  it  is  impossible  to  turn  a  deaf  ear  to  Lupe's 
protests,  particularly  after  she  fed  me  soup  right  out  of 
her  own  plate. 

To  many  fans,  .Miss  Yelez's  denials  will  be  most  wel- 
come.  Those  who  accepted  her  whole-heartedly,  after 
her  dazzling  success  in  "The  Gaucho,"  have  looked  on 
with  increasing  dismay  as  hectic  stories  described  her  as 
having  become  a  vulgar  hoyden  and  publicity  hunter. 
Certainly  this  picture  of  her  did  not  fit  in  with  my  first 
impressions,  which  were  gained  during  a  talk  with  her 
immediate!}  after  her  bubbling  presence  was  established 
in  films  two  years  or  more  ago. 

In  writing  of  her  at  that  time  I  used  the  description, 
"frank  without  being  hold,  naive  without  being  affected, 
and  romantic  without  being  spurious."  After  unbiased 
consideration  I  now  realize  that  she  has  definitely  though 
subtly  changed.  Lupe  is  now  a  hit  world-weary,  a  hit 
temperamental,   and    is   indulging   in   moments   of   bored 


and  picturesque  languor.     Yes,  I  gotta 
say  it,  soup  or  no  soup. 

For  Lupe  is  going  through  a  period 
of  readjustment,  cultivating  poise  and 
a  better  viewpoint,  and  her  present 
mood  is  one  of  the  transitory  phases. 
Lupe  has  no  more  consistent  admirer 
than  I,  and  for  her  own  charming  sake 
I  hope  she  will  totally  disarm  her  crit- 
ics by  a  permanent  display  of  prudent 
conduct.  One  resents  seeing  one's  fa- 
vorite held  up  as  an  example  of  primi- 
tive womanhood  on  the  loose. 

"I  have  changed,"  said  she,  drawing 
her  shoulders  up  to  her  ears  in  solemn 
reminiscence.  "When  I  first  came 
here  I  did  not  know  it  was  wrong  to 
say  certain  words — -I  did  not  know  the 
meaning  of  them.  And  I  did  not  know- 
it  was  not  so  good  to  make  love  in  the 
presence  of  others.  I  did  these  things 
without  thinking  about  them,  but  other 
people  thought  about  them.  I  like  to 
make  every  one  happy.  When  people 
laughed  at  me  it  thrilled  me  all  over,  for 
I  thought  they  were  having  a  good 
time.  I  think  I  would  break  my  neck 
if  it  would  make  people  laugh.  But 
after  thev  laughed  thev  went  away  and 
talked."  ' 

Perhaps    the    charge    that    Lupe    is 
temperamental  requires  some  substan- 
tiation.    The  opinion  is  based  on  no 
actual   proof ;   it  is   the   child   of   sur- 
mise,  fostered  by  the  fact  that  Lupe 
seemed  reluctant  to  he  interviewed,  and 
by  what  I  gleaned  from  her  studio  as- 
sociates.    If,  as  she  says,  she  has  been  misrepresented 
and  misquoted,  her  reluctance  is  understandable.     Then, 
too,  a  man  on  her  set  took  me  aside  and  assured  me  that 
Lupe  was  the  salt  of  the  earth  and  the  adored  of  all  who 
worked  with  her.     In  view  of  the  conflicting  reports  each 
fan  will  have  to  decide  for  himself. 

Throughout  the  present  transitory  period,  however, 
one  fact  is  very  evident :  Lupe  is  just  as  reckless  with 
money  as  she  ever  was.  Not  content  with  purchasing 
an  architectural  colossus  in  Beverly  Hills,  which  is  large 
enough  to  accommodate  a  regiment  of  cavalry — includ- 
ing the  horses — she  has  in  her  service  a  staff  of  servants 
which  includes  a  butler.  There  Lupe  lives  in  solitary 
grandeur.  Imagine  a  simple  child  of  nature  surrounded 
by  all  that  flumduggery ! 

"I  love  my  home,"  says  she,  "and  am  working  hard  to 
pay  for  it.  I  seldom  go  to  parties  or  visit  other  people, 
for  why  should  I  go  to  other  homes  when  I  have  one 
of  my  own  ?" 

Remembering  an  article  I  had  read  which  quoted  her 
as  saving  that  she  wanted  to  save  a  fortune  and  spend  it 
in  Paris  making  nocturnal  whoopee,  I  asked  if  this  were 
still  her  ambition. 

"I  never  said  I  wanted  to  live  in  Paris!"  she  flashed 
hack.  "I  want  always  to  live  in  California.  There  is  no 
place  like  Hollywood,  and  when  T  was  in  New-  York,  I 
told  every  one  about  it.  They  would  say  to  me,  'See 
our  skyscrapers,  our  Woolworth  Building,  our  shops.' 
And  1  would  say.  'You  should  see  our  Beverly  Hills,  our 
Brown  Derby,  and  our  Hollywood  Boulevard.' 

"Besides,  it  is  too  cold  in  New  York.  I  like  to  live- 
in  a  warm  climate,  the  warmer  the  better.  Even  here  I 
am  cold  so  much." 

Although  we  were  walking  in  the  warm  sunshine  she 
Continued  on   page   108 


UPE  \  KI.l-.Z,  l"n«  the  hoyden  of  the  films,  is  qaictiqg  down 

■— «  in  her  dejx.rtment,  hut  she  ha;,  hy  no  means  lost  her  tire,  thouRh 
she   expends    must    of    it    nowadays    m    ikiiyniK    untruthful    M 
circulated  about  her.  says  Madeline  GlAS,  < <i'l" <-i t < 


36 


Photo  by  Uurrell 


WITHOUT  stooping  to  pun,  we  insist  that  Anita  is  as  winsome 
a  Page  of  contemporary  history  as  you  can  find  in  all  Holly- 
wood. What's  more,  she's  a  darned  good  actress  who  never  fails  to 
make  her  role  real,  if  given  a  chance. 


Y/T.S,    Kichard   Arl.-n   and   Jobjrna    Ralston   now   have   their 
'    yacht     It  i>;i>s,  jroa  lee,  for  yoang  couplei  to  econotnizi 
the  start  of  their  married  life,  even  to  thi    extent  >>i  laying  tilei 
in  the  patio  of  their  boon 


38 


Photo  by  Ernest  A.  Baehrach 


ALL  things  come  to  him  who  waits"  might  well  be  Richard 
Dix's  motto,  for  here  he  is  all  ready  to  play  Yancy  Cravat,  in 
"Cimarron,"  surely  as  colorful  and  strong  a  character  as  his 
admirers   have   wished   for,   lo,   these  several  years. 


w 


AS  th<-  most  pnwniring  newcomer  at  the  afetro-Goldwyii  itudio 
**  we  nominate  Mary  Doran,  wlx-  Ktntiilated  briefly  but  mem- 

'.ral.lv   in  "The    Din  Dd   "Sins  i.l    tin-   (  hilrlrrn"   and   who,   U 

tht  k>k|~  are  good,  will  ihine  brightly  within  a  year     ft'i  a  bet  I 


10 


IT  seems  years  since  Russell  Gleason  attracted  attention  in  those 
early  talkies,   "Strange  Cargo"  and  "Shady  Lady,"  but  he  has 
made   good   use   ot    what   is   really  only  a  short   time,  as  you   will 
:   yourself  in  "Beyond   Victory." 


II 


IT>-  *•>   h|    li  j-» 


FORMERLY  content— or  leeningb  v>— 1<>  be  a  reigning  Holly- 
wood beauty,  Shar-.n  Lynn  decided  to  act  too,  and  n.,w  there* 
no  tcll.nK  now  far  shell  go,  especially  after  "Wild  Company. 

The  wilder  the  better,  >ay  we,  if  sin-  il  ">  BM  b'tk  r6k 


12 


ONLY  six  months  in 
the  movies,  Ginger 
Rogers  is  already  well 
known  and  liked,  not  only 
by  fans  but  by  critics  too. 
But  she  is  no  novice  in 
capturing  public  approval, 
for,  though  only  nineteen, 
she  has  been  singing  and 
dancing  in  stage  units  and 
musical  comedies  since 
she  was  fourteen.  In  the 
story  opposite,  Ginger's 
career  is  recounted  by 
Mabelle  Duke,  who  knew 
her  when  she  was  a  kid 
in  Texas,  excited  over 
winning  a  Charleston 
contest. 


Photo  by  Herman  Zerrenner 


A  Peppy  Little  Disk 

She's  Ginger  Rogers,  who's  so  spicy  that  she  has  to   divide  her  time  between  the  stage  and  the  movies. 

B?  Mabelle   Duke 


THAT  peppy  little  <lish  called  Ginger  is  the  spice  m' 
life  at  the  Paramount  studio  in  New  York. 

jive  me,  I  didn't  mean  to  be  punny.  as 
Groucho  Marx  says,  but  Miss  Rogers,  newly  recruited 
from  the  stage  and  si >on  to  return  there,  has  become  quite 
d  in  the  audible  flickers,  hi  scarcely  six  months 
since  her  first  appearance  before  a  camera,  she  has  played 
leading  roles  in  three  pictures  and  i-  beginning  a  fourth 
irtJng  rehearsals  for  her  nei  show  this 

fall. 

is  a  distinct  type — a  new  sort  of  flapper.    She 
isn't  exactly  beautiful,  hut  she  has  undeniable 

She's  tall  and  slender,  very  pe] 
though  not  gushing,  and  she'.-  always  the  life 
of  the  party,  without  being  loud.     That  much 
one  gathers  at  first  sight  of  Ginger. 

Furthermore,  she  has  hrains.     That  devel- 
nversation  with  her.   for 
her  slender  feet  are  firmly  planted  to-daj   ex- 
actly in  the  spot  which  s!  !  as  her 
five  year-  ago.     Her  recent  success  has  been 
sational,  hut  she's  no  skyrocket. 
Just  nineteen  now.  -he's  been  working  to- 
ward  a   definite   end   since   she 
-  fourteen.     She  mapped  out 
her  career,    just    as   a   business 
man  ;                       campaign,  and 
'lowed  it  closelj 
to  Broadway  a  nov- 
She  had                 :rs'  ^ruei- 
ence  in  the  stic 
fore   she  descended  on   Broad- 
winter    and    In 
ernight    success    in 
\fter  that  her  m 
picture  career  was  equally  me- 
•  :c. 

Maybe   you   saw   her  as   the 
vamp  in  "Young  Man  of 
attan."     It    not.   yot 
tair.Iy  saw  her  in  "Queen  i 
or   "The   Sap    from   Syr;: 

s  playin_  e  Ed 

W'vnn.  in  "Manhattan  Mary." 
r  cups  of  tea  and  several 
chewing  gum.  we  sat 
talking    the    other    day    in    the 
-taurant.      I    first   met 
r  when  si  >nly  four- 

is   making  her   fil 
nal  app- 

in  Dallas,   1 
:H»ner    for   a    Dallas  led    on    her   hack 

little 
hrain.  rather  in  ante. 

ambition.    M  long. 

.  and  I  mentally  con 

"I  ain't  Ik-!:  me."  Ire 

charminj  I]  her 

the  irr<  little 

Charleston  d.  en  I  meet  such  folks 


As  a  child  Ginger  Rogers  had  plenty  of 

chances    to    get    in    pictures,    but    her 

mother   preferred  school   for  her. 


as  Budd)  Rogers  and  other-  thai  1  used  to  have  fan 
crushes  on,  I  can't  realize  that  I  reallj  belong  here  with 
them.  I  run  around  getting  autographs  as  il  I'd  never 
been  inside  a  studio  before. 

Not  in  looks  but  in  manner  Ginger  hear-  a  resemblance 
to  Constance  Talmadge.  Also  she  has  thai  rare  talent 
for  comedy  which  made  Constance  the  foremost  come- 
dienne of  the  screen  at  one  time  and  may  do  the  same 
for   Ginger.      Furthermore,   -he   has   sense   enough   to 

realize  this — another  evidence  of  brains  -and  not  go 
hankering  after  romantic  or  dramatic  roll 

"I  loved  'Queen  High'  and  'The  Sap  from 
Syracuse,'  "  Ginger  said.  "That  Jack  <  >akie 
is  such  a  clown,  and  Charlie  Ruggles  and  T 
are  buddies.  Jack'-  the  star  of  'The  Sap.' 
you  know,  and  Charlie's  in  'Queen  High.' 
I  liked  'Young  .Man  of  Manhattan.'  too,  but 
I  have  a  horror  of  being  typed  as  a  baby 
vamp.  A  vamp's  screen  life  is  too  short — 
even   a  baby  one." 

Ii  is  Mrs.  Rogers,  Ginger's  young  mother, 
who  has  managed  her  daughter's  career  with 
such  businesslike  judgment  and  placed  her 

where  she  is  to-day. 
Ginger,  whose  real 
name    is     Virginia, 
was  horn   in   Inde- 
pendence, Missouri. 
When  she  was  six, 
Mrs.    Rogers,   then 
a  widow,   took  her 
child  to  I  follywood 
and    there     found 
work  in  the  scenario 
department    of    the 
Fox  studio.    ( linger 
often     visited     the 
studio  and  the  cast- 
ing director  wanted 
her    to    play    child 
roles.       But     Mrs. 
Rogers  objected. 
"That  kid's  going 
to   have   a   real    childhood,    if    she   has 
nothing  else,"  -he  would  always  reply. 
"She'll    have    to    work    for    her    living 
some  day,  but  as  long  as  I  can  earn  a 
dime  she'll  never  become  one  of  these 
painted,  posturing  movie  children." 

So    the    little   girl    didn't    go    in    the 
movies,     [nstead   she  went  to  school, 
lir-t  in  Hollywood  and  then  in  Fort  Worth,  Texas,  w! 
Mrs.    Rogers   worked   as   dramatic   editor  of   the    Fort 
Worth  Ret  uril. 

Tlu-n  the  Charleston  craze  arrived.    Ginger  had  n 
had  a  dancing  lesson  in  her  life,  but  she  began  to  pick  up 
rleston  steps.    There  came  a  contest  which  she 
and   her  natural   Hair    for  COmedj    began   to  I 
elf.    While  the  other  contestants  performed  that 

qued  it. 
Wh(  ned  onto  the  floor,  everybody  howled 

1 10 


44 


% 


Maybe  You  Are  Famous? 

You  never  can  tell  until  you've  tried  to  get  a  booth  at  the  Brown  Derby,  or  told  your  hostess  that  a 
drink  offered  you  is  hogwash,  or  fought  a  director.     Your  answer  is  in  how  much  you  can  get  away  with. 

By  Helen  Louise  Walker  illustrated  by  Lui  ^rugo 


HOLLYWOOD  is  a  very  confusing  place.  One  is 
always  having  to  deal  with  problems  and  some- 
times one  gets  so  worn  down  and  tired  of  it  all — 
I  don't  know.  It  almost  seems  as  if  it  isn't  worth  it. 
However,  one  must  be  brave  and  grit  one's  teeth  and 
carry  on.  (The  carryings-on  in  this  community  are  a 
problem  in  themselves,  but  I  can't  cope  with  everything 
at  once.) 

Take,  for  instance,  the  problem  which  faced  a  young 
woman  here  only  a  few  days  ago.  She  proposed  to  take 
a  guest  to  the  Brown  Derby  for  lunch.  So  she  tele- 
phoned and  asked  the  restaurant  to  reserve  a  booth  for 
her.  When  she  arrived  at  the  appointed  time,  with  her 
guest,  there  was  not  even  a  table  for  them,  let  alone  one 
of  the  coveted  booths  along  the  wall. 

"But  I  phoned  and  reserved  one,"  she  protested 
vehemently. 

"Sorry,  lad)-,"  was  the  laconic  reply.  "We  reserve 
booths  only  for  famous  people." 

Now,  do  you  see  the  young  woman's  dilemma?  She 
had  imagined  that  she  was  a  little  bit  famous.  After  all, 
her  picture  was  appearing  at  that  very  moment  in  a 
number  of  magazines,  admitting  that  she  used  a  certain 
brand  of  soap,  the  manufacturer  having  the  theory  that 
this  thrilling  fact  would  influence  large  numbers  of  less 
prominent  young  women  to  do  likewise. 

Moreover,  she  had  been  a  regular  customer  of  the 
Brown  Derby  and  had  taken  people  there  who  were, 
supposedly,  even  more  famous  than  she,  people  whose 
pictured  faces  advertised  not  only  soap  but  cigarettes. 
Which  is  still  more  impressive. 

Then  to  learn  that  she  wasn't 
even  famous  enough  to  reserve 
a  table  in  a  restaurant — you  can 
imagine  the  poor  thing's  feel- 
ings ! 

So  you  see  that  one  of  the 
major  problems  which  harass  us 
is  that  of  how  to  know  whether 
or  not  we  are  famous.  Evi- 
dently 


way  to  tell  is  by 
whether  you  can  get  a  table  at 
the  Brown  Derby  or  not. 

It  isn't  a  very  accurate  way, 
however.  Only  a  day  or  two 
ago  I  saw  a  petite  girl  get  a 
table  there  by  merely  raising 
her  voice  in  a  silvery  imitation 
of  Benny  Rubin's  laugh  !  And 
even  a  newspaper  man  or  a  mag- 
azine writer  may  sometimes  eat 
there  on  a  dull  dav. 


When  a 
feelings 


we 
one 


Obviously  we  shall  have  to  go  more  deeply  into  this 
matter  sometime,  if  we  are  to  gain  any  really  precise 
information. 

One  way  of  testing  the  quality  of  your  fame  is  to 
note  the  prices  you  are  asked  for  things  you  buy.  If 
you  enter  a  shop,  and  they  instantly  double  the  price 
on  every  article  you  inspect,  you  may  take  it  for  granted 
that  you  are  considered  not  only  famous,  but  also  wealthy 
and  gullible. 

I  was  in  Alice  White's  dressing  room  not  long  ago 
when  a  young  woman  brought  in  a  number  of  knitted 
berets  for  Alice's  approval.  It  so  happened  that  I  had 
priced  similar,  if  not  identical  ones,  at  a  downtown  shop 
a  few  hours  before  and  had  been  told  that  they  sold  at 
$3.45  each.  But  when  Alice  inquired  the  price  of  the 
berets  she  was  told,  "Ten  dollars  each" — and  she  un- 
complainingly ordered  three  of  them !  Which  just 
shows  you  one  of  the  advantages  of  being  a  private 
citizen. 

On  the  other  hand,  fame  also  has  its  commercial  ad- 
vantages. When  Richard  Barthelmess  went  abroad  last 
autumn,  he  said  that  he  had  much  better  accommo- 
dations on  shipboard  than  he  paid  for,  and  he  nearly 
always  had  a  better  suite  in  any  hotel  than  his  bill 
indicated. 

That  is  another  way  in  which  to  tell  whether  or  not 
you  are  a  celebrity.  If  you  are  sufficiently  important 
that  it  is  good  advertising  for  an  establishment  to 
have  you  stopping  there,  then  you  are  some  one — and 
a  reduced  rate  on  the  bridal  suite  is  proof  of  it. 

It  is  not  always  so  easy  to  tell, 
however.  If,. for  instance,  you  are 
traveling  and  the  mayor  of  some 
city  meets  you  at  the  station  with 
a  large  gilt  or  floral  key,  don't  just 
take  it  for  granted  that  this  is 
proof  of  your  fame.  It  may 
merely  mean  that  your  press  agent 
is  possessed  of  some  low-down  on 
the  mayor  and  has  used  his  influ- 
ence to  bring  this  about. 

A  press  agent  can  clutter 
your  mind  most  distress- 
ingly about  these  matters. 
If  you  see  your  name  em- 
blazoned here  and  there, 
and  read  little  pieces  about 
yourself  in  the  newspapers, 
it  does  not  necessarily  mean 
anything  more  than  that  the 
aforesaid  p.  a.  is  earning  his 
weekly  pay. 


star   is   overtaken  by   uncontrollable 
he    takes    them    out    upon    a    lesser 
player  or  prop  man. 


Maybe  You  Are  Famous? 


45 


But — if  you  find  a  bona- fide  newspaper  reporter  hid- 

ng  in  your  clothes  hamper  some  morning,  taking  notes 

ipon  the  little  spat  you  are  having  with  your  spouse,  it 

safe  to  assume  that  you  are  destined  to  fame 

e  public  is  taking  an  interest  in  you. 

motion-picture  lots  unimportant   people  are  told 

rhat  they   may  or  may  not  do.     And  as  long  as  they 

unimportant,   they    had    better    obey    orders,    or 

hey  may  become  even  less  important.    If  you  find  that 

rou  ear.  do  as  you  please  and  still  retain  your  position, 

hen  you  arc  a   famous  motion-picture  star,  without  a 

loubt. 

Take  Clara  Bow.     Some  one  phoned  the   Paramount 
studio  not  long  ago  to  ask  about  a  picture  oi  her  which 
accompany  a  signed  recommendation  of  a  certain 
>rar  s. 

'"But  we  should  not  think  of  allowing  Miss  Bow  to 
iign  such  an  advertisement !"  declared  Mr.  Paramount 
ndignantly. 

"That's  too  had."  drawled  the  inquirer,  "because  she 
las  already  signed  it." 

Now  if  Clara  has  lost  her  job,  I  haven't  heard  any- 
hir.g  about  it.  It  seems  that  she  is  quite  justified  in  eon- 
adering  herself  a  very  famous  star. 

Then  there  is  the  matter  of  temperament.  A  gentle- 
nan  who  has  made  an  extensive  scientific  study  of  that 
>eculiar  phenomenon  explains  its  workings  like  this.  A 
Jar  may  exhihit  temperament  of  the  violent  variety  on 
he  set.  But  it  is  to  be  observed  that  if  he  is  a  careful 
tar.  he  does  not  vent  it  on  a  director  whose  magnitude 
S  equal  to  his  own.  When  he  is  overtaken  by  uncon- 
rollable  feelings  he  takes  them  out  upon  a  lesser  player, 
i  prop  man.  an  electrician,  or  maybe  a  valet. 

Look  what  happened  to  Jetta  Goudal  when  she  tried 

leing  temperamental  with  Cecil  DeMille !    And  to  Betty 

n  when  she  attempted  it  with  executives !     And 

id  that  Lupe  Yelez  was  taken  out  of  a  picture  not 

Dng  ago.  when  she  arrived  upon  an  important  direct'  «r's 

•  hours  late  the  first  day  of  shooting. 

If  you  are  in  any  doubt  about  your  degree  of  fame, 

!©u  can  ea  it  by  aiming  a  little  temperament  at  a 

lireetor. 

rector  may  be  temperamental  at  a  contract  player, 

r  an;.  individual.       But  he  had   best  not  try  it 

>:        star.     Unless  be  is  Eric  von  Stroheim.  which  he 

and  even  then  it  has  been  known  to  lead  to 

prii  r  what  not,  ask  to 

it  is  a  pretty  sure  sign  that 
But  it  may  only  prove  that 


If  visiting  •  lents, 

le  photographed  with  you, 
iou  are  sonic  dier. 

re  the   Metro-Gold- 
ryn  trade-mark  lion. 

E  ithered    that   Junior 
jaemmle  was  sort  of  fa- 
the  other  day  when 
*  came  into  the  Exnb 
3uh    at    lunch    time    and 
:    people   burst   into 
ind    spontani 
ipplau-c.      Junior   bri 

nd     said.     "Oh. 

You're  making  me 

He  did.  too.  quite 

-tly  and  boyishly.    It 

■as  all  ver 

■Another    swell    way    to 

ind  out  i~  to  ask  a  favor 

■ne. 

I    certainly    found    out 

r  not  /  was   fa- 

the  other  day  when 

[  telephoned  a  mere  - 


The  real  test  of  fame  is  to  find  a  reporter 

in  your  clothes  hamper,  taking  notes  on  a 

domestic  row. 


You    know    you    are    somebody    when    you    are    photo- 
graphed   with  a  couple  of  bilious  old  nabobs. 


writer  to  ask  him  to  interview 
an  acquaintance  of  mine.  But 
I'd  rather  not  talk  about  that,  if 
yOU  don't  mind.  It  wa-  a  very 
lugubrious  occasion. 

I  f  you  can  be  rude 
and    get    away    with 
it,  it  is  pretty  | 
evidence    of 
your     celeb- 
rity, too.  Put 
you  ha> 
be    a    little 
careful   with 
this   method, 
or  you  may 
have  a  slight 
surprise,  like 
a   good   poke 
in    the    nose 
when  you  do 
not  expect  it. 
or  something 
like  that. 

Like  John 
McCormack.      You'd    think    that   John    would    need   to 
have  few  doubts  on  this  subject — and  it  seems  that  this 
is   his   opinion,   too.      So   imagine   how    disconcerted   he 
must  have  been  when  this  happened. 

The  story,  as  it  was  told  to  me.  is  that  Mr.  McCormack 
called,  late  one  evening,  at  the  home  of  a  well-known 
Hollywood  actor  where  a  small  dinner  party  was  as- 
sembled. He  looked  surly  and  acknowledged  introduc- 
tions in  a  somewhat  irritated  Fashion.  Suddenly  he  called 
loudly  and  firmly  for  champagne.  His  hostess  sent  for 
some.  John  lifted  his  glass,  tasted  the  wine,  swore 
volubly  and  tossed  it  on  the  floor. 

"That's  the  only  thing  to  do  with  hogwash  like  that!" 
he  roared.  "Any  one  who  serves  native  champagne  to 
mc  may  expect  it  to  he  treated  this  way!" 

His  hostess  waited  until  his  rage  had  died  down  a 
little  and  then  she  said,  "Now,  Mr.  McCormack.  will 
you  please  oblige  mc  by  getting  your  hat  and  coat  and 
leaving  my  house?  It  will  be  nice  if  I  do  not  see  you 
again." 

see?     The  drawback  of  that  method  is  that  you 
may  discover  that  you  aren't   quite   as    famous   as   vott 
thought    you    were.      Which    is    disappointing    and    dis- 
ning.     So  use  it  with  discretion. 

It  is  rather  difficult  to  lay  down  a  set  of  rides   for 

these   things.      One   method 


works  for  one  person  and 
may  prove  an  utter  failure 
for  another. 

Likewise  standards  that 
apply  to  other  communities 
are  likely  to  prove  quite 
misleading  in  measuring 
a  persona  importance  in 
1  lollywood. 

So  if  I  were  you  and  had 
any  doubts  as  to  the  state 
of  my  reputation,  I  should 
just  take  up  a  correspond- 
ence Course  in  history  or 
magic  tricks  or  piano  play- 
ing— concentrate  on  some- 
thin  jet  my  mind  <>(( 
this  other  problem.  You're 
likely  to  develop  some 
of  neurosis  if  you  dwell 
on  it! 


46 


Out  of 


an 


That    is    the    interviewer's    impression    of    Phillips 
wildest    Hollywood;    and    he    is    registering    on    the 

look  to 


By  Edxtfard 


Photo  I'y    liyai' 

The  fan  appeal  of  Phillips  Holmes  is 

for  the  lucky  few  who  prefer  caviar  to 

cake. 


PHILLIPS  HOLMES  distinctly 
belongs  to  the  quality  group  of 
players.  Although  he  seems 
destined  shortly  to  achieve  tremen- 
dous popularity,  his  greatest  appeal 
will  always  be  to  the  happy  few  who 
prefer  caviar  to  cake. 

The  flappers,  though  impressed  by 
his  extreme  comeliness,  will  hesitate 
taking  his  autographed  photo  to  bed 
with  them.  They  have  never  known 
any  one  in  pictures  quite  like  Phil. 
For  Phil  at  twenty-three  is  as  suave 
as  William  Powell,  as  poised  as  Give 
Brook,  and  at  the  same  time  as  dis- 
turbingly genuine  as  Jack  Oakie. 

He  has  a  British  manner,  as  well  as 
British  accent.  He  is  so  handsome, 
so  intelligent,  and  so  witty  that  he 
seems  to  have  stepped  right  out  of 
an  English  novel. 

This  was  how  young  Holmes  impressed  me,  despite 
the  fact  that  the  day  I  met  him  he  was  sitting  up  in  a 
hospital  bed  with  a  black  eye.  a  swollen  jaw,  souvenirs 
of  a  motor  accident,  and  with  his  hair  dyed — at  a  direc- 
tor's insistence.  I  assure  you — that  hideous  hue  known 
as  1  lollywood  blond. 

A  nurse  hovered  around  Phil's  bedside  with  what 
seemed  to  me  to  be  more  than  professional  solicitude, 
while  his  parents  fluttered  about.  The  telephone  rang 
constantly,  and  then'  was  a  steady  procession  of  what 
Phil  termed  "the  Greeks  bearing  gifts." 

A  nervous,  distrait  little  woman  dashed  into  the  room 
to  thank  Phil  for  having  been  so  kind  to  her  little  boy 
who  had  been  hurt  in  another  motor  accident.  The 
child  had  been  disconsolate  after  his  parents'  departure 
the  previous  night,  and  Phil  had  sat  up,  reading  to  him, 
!  la    had    fallen  asleep. 


When  we  were  alone  I  congratulated  Phil  on  having 
found  so  delightful  a  sanctuary. 

"I'm  not  getting  any  rest,"  he  wailed.  "It's  like  this  all 
day  long,  and  the  night  nurse  sleeps  all  night,  and  I  have 
to  keep  awake  so  she  won't  slip  off  the  chair.  I  have  to  be 
back  on  the  set  to-morrow  morning,  too.  I  suppose  I 
really  shouldn't  go  looking  and  feeling  as  I  do,  but  they're 
holding  up  production,  and  Hollywood  heroics  are  ex- 
pected of  a  rising  juvenile." 

Phil's  voice  was  jaunty,  his  manner  elated.  He  had 
found  happiness  in  Hollywood  at  last.  I  say  at  last, 
because  when  he  first  came  out  here  he  despised  the  place. 
He  felt  that  making  faces  at  a  camera  and  speaking  to  a 
microphone  was  the  most  stupid  job  on  earth.  The  town's 
well-known  provincialism  irked  him  considerably.  Holly- 
wood has  a  certain  glamour,  but  it  is  not  the  kind  of 
glamour  to  which  a  boy  of  Phil's  background  could  sub- 
scribe. A  boy  who  had  known  the 
civilized  contacts  of  Continental 
prep  schools,  and  Cambridge  and 
Princeton  Universities,  couldn't  be 
entertained  for  long  by  Holly- 
wood's madness. 

But  I'm  twenty-two  years  ahead 
of  my  story.  Phil's  parents,  Mr. 
and  Mrs.  Taylor  Holmes,  were 
touring  with  a  stock  company,  and 
had  stopped  off  in  Grand  Rapids, 
a  one-night  stand,  when  Phil  was 
born.  They  were  depressed  by  the 
circumstances  of  their  son's  birth, 
and  vowed  that  he  would  not  grow 
up  a  trunk  child. 

When  Phil  was  seven  or  so,  he 
was  placed  in  a  boarding  school 
near  Xew  York.  When  he  was 
fourteen,  he  went  to  France  to  en- 
ter a  school  at  Grenoble.  "It  was 
the  happiest  year  of  my  life,"  Phil 
says.  "I  know  now  that  I  shall 
never  be  so  in  love  with  the  world 
again.  It  was  so  perfect  that  it 
spoiled  me  for  all  of  life  to  follow. 
There  were  three  other  Americans  there,  and  four  Eng- 
lish boys,  and  two  girls.  We  formed  a  group  that  was 
the  despair  of  the  faculty.  We  did  the  maddest  things, 
like  dashing  off  to  Paris  without  leave.  I'll  never  for- 
get that  year." 

Phil  returned  to  Los  Angeles,  where  his  parents  had 
a  temporary  home.  He  had  lost  his  taste  for  the  Ameri- 
can scene,  so  his  father  permitted  him  to  continue  his 
studies  at  an  English  prep  school.  He  began  his  uni- 
versity work  at  Cambridge,  where  he  became  the  leading 
player  of  the  Thespian  Society. 

There  is  no  other  existence  in  the  world  as  delightful 
as  that  of  an  undergraduate  in  England.  Phil  would 
gladly  have  continued  at  Cambridge,  but  his  father 
thought  it  best  that  he  finish  his  education  in  America. 
Phil  entered   Princeton. 

He  became  one  of  the  most  popular  players  of  the 


Taylor  Holmes,  Phil's  father,  is  a  name 
in  the  theatrical  world. 


i: 


Hollywood  bored  Phil- 
lips   Holmes,    until    he 
was  disillusioned  about 
his  Eastern  friends. 


English  NoVel 

Holmes,  whose  cultural  influence  is  likely  to  be  felt  in 
screen,  too.  in  a  way  that  should  make  other  juveniles 
their  laurels. 

Nagle 

famous  Triangle  Club  oi  that  university,  He  was  the  "leading 
lady"  in  a  play  which  toured  the  Eastern  States.     Phil  played 

the  heroine  with  Mich  charm  ami  success  that  be  developed  a 
fear  of  being  thought  effeminate.    At  the  end  of  the  tour,  he 

returned  to  the  campus,  and  went  virile  with  a  vengeance.      He 
1  and  cussed,  and  even  chewed  tobacco,  until  bis  sense 
oi  humor  began  to  assert  itself. 

He  informed  me  with  pride  that  bis  next  role  is  to  be  some- 
thing in  the  Edmund  Lowe  manner,  whereupon  be  proceeded 
•  out  several  oi  the  scenes.  Although  Phil  was  inordinately 
proud  oi  bis  father's  theatrical  career,  be  never  seriously  con- 
sidered acting  as  a  future  for  himself.  He  bad  an  offer  from 
a  brokerage  firm  in  Wall  Street,  and  looked  forward  to  spend- 
ing his  life  among  the  sort  of  people  be  bad  known  at  school. 

Then  one  day  Director  Frank  Turtle 
turned  up  on  the  Princeton  campus  to 
film  exteriors  for  "Varsity,"  starring 
Buddy  R  They  needed  a  boy  to 

play  Buddy's  roommate,  a  good-look- 
talented  boy.     Phil  was  chosen. 
"I  took  the  job  as  a  lark."  Phil  told  me.     "I  thought 
-    only  a  week  or  so.     But  Turtle  told  me  Pd 
have  to   come   to   Hollywood   to    finish    it.      Production 
continued  for  several  months.     When  it  was  finished,  I 
had  lost  so  much  school  work  that  to  return  to  Princeton 
meant  repeating  a  year.     I  accepted,  at  my  father's  re- 
tract with  Paramount. 
"When  I  signed  that  contract.  T  felt  that  I  was  signing 
away  my  life,  exchanging  my  birthright   for  a  mi 

ttage.    I  hungered  for  the  companionship  of  my 
-  d  life  out  here 

tned  just  a  farce.     The  constant  babble 
diop  talk  drove  me   wild.      I   was  the 
desolate   and    despondent    person    in 
suburb." 
Phil  brooded   so   much   that   he   became 
ill.     Before  he  was  entirely  well  he  b 
work   on    "Stairs    of    Sand."    a    Western, 
Paramount's  last  silent  picture.     Alt' 
his  heart   was   not   in   it.   be   turned    in   an 
excellent  performance  and.  had  the  picture 
d   the   first-run   theaters,    Phil   would 
be  well  on  his  way  to  stardom. 

After  "Stairs  of  Sand."  be  played 

eral  bits.     When  be  was  well  again,  be  in- 

I   upon   going  back  to   New   York  to 

Hi-   parents  were  afraid 

uld  increase  has  discontent  with  Hol- 

od. 

would  have,  had  my  friends  proved 

lelightful  as  I  had  remembered  them: 

laving   finished    school,    they   had    all 

rut.     The  shop  talk  of  New 

Yorl  I    infinitely    more   inane   than 

that  of  Hollywood.     I  came  back  entirely 

•  at  my  movie  work." 

Upon  his  return 

he   played   on   the      Phil  was  recruited 

in  "Tl 

' and  the 


from     Princeton     for 
Buddy  Rogers's  room- 
mate in  "Varsity." 


powers  of  Paramount  realized  that  this  young  member 
of  their  organization  was  valuable  and  worth  training. 
He  was  given  better  roles  and  played  them  with  such 
skill  that  to-day  he  is  one  of  the  most  promising  juveniles. 
He  likes  Hollywood  now.  It  has  taught  him  much. 
I  olerance,  he  says,  and  ambition. 

Hollywood  likes  him,  too.  That  manner  of  careless 
arrogance  which  is  learned,  though  not  taught,  in  Eng- 
lish schools,  and  which  Phil  used  at  first  toward  the 
picture  colony,   has   melted   into   .me   of   charm.      Tli 

who  a   year   ago   dubbed   him   high-hat   and   af- 
fected are  loud  now  in  their  insistence  that 
a  regular  guv. 

I  hope  that   Phil   will  never  come  to  take  the 
town   too   seriously,   that   he  will   always   remain 
an  epigram  among  its  platitudes,  a  prince  among 
its  peasants. 

lie-  takes  his  work  very  seriously. 
At  night  he  spends  hours  studying 
his  "sides"  under  the  direction  of 
his  father.  Every  line  and  every 
bit  of  business  is  rehearsed,  until 
his  father  is  completely  satisfied 
that  it  is  perfect.  And  he's  not 
easily  satisfied. 

lb'  wants  to  do  Bunker  Bean 
which  his  father  played  with  such 
uccess  on  the  stage.  There 
are  many  other  juveniles  in  Holl; 
wood  after  the  role.  Phil  named 
them,  disqualifying  each.  "They 
haven't  the  love  for  the  play  needed 
to  make  it  a  masterpiece,"  he  said. 
"I  haven't  really  been  presented 
sympathetically  to  the  fans.  [n 
'Only  the  Brave'  I  had  the  role  of 
a  heavy,  in  'Pointed  I  feels'  a  snob, 
and     in    ''flu-     Devil's     Holiday'    a 

tinucd  '.ii 


48 


LiftM 


e 


And  the  proper  thing  to  do  is  to  help  the 

girls  up,  without  asking  how  they  happened 

to  need  aid. 


Yola  d'Avril,  center, 
appeals  to  your  pity. 
The  French  girl's  high 
spirits  caused  her  to 
make  a  misstep  while 
on  the  set  of  "When 
We  Were  Twenty- 
one,"  and  now  the  di- 
rector is  bawling  her 
out.     Poor  Yola ! 


Loretta  Young,  below, 
usually  so  graceful, 
lost  her  balance  just 
once,  and  this,  alas, 
shows  where  her  dig- 
nity went. 


Phylli  above,  needs  more  than  a  lift 

she    needs    a    surgeon.      But    never    fear, 
••he'll    be    repaired    in    time    to    be    seen    in 
Lovers." 


[nez  Courtney,  left,  is  ter- 
ribly upset  over  some- 
thing, but  surely  her  dis- 
tress signal  will  not  go 
unheeded  for  long— she's 
such  a  cute  little  piece. 


19 


Wanted — Romance 

hn    Garrick    says    talkies    have    taken    all    the 
imour   out   of   films,   but   there's   still   some   in 
i  players,  as  you  will  sec  when  you  read  about 
his    leading    lady    in    Australia. 

B?  William  H.  McKegg 

v  and  age,  when  everything  and  every- 
body is  trying  to  be  literal  and  businesslike,  it  i- 
hard  to  get  hold  of  a  romantic  soul.    On  my  way 
the  Fox  atelier  to  see  John  Garrick,  I  thought  of 

s,  after  the  manner  <>i  a  disillusioned  interviewer. 
Say  what  you  like,  glamour  and  romance  are  glow- 
l  thir.u- 

Hut  work  had  to  be  attended  to.  So  farewell  to 
Ction.  I  had  to  face  John  Garrick  and  learn 
>in  him  what's  what  in  the  realities. 
Some  pleasant  chatter  ensued  with  my  old  pals  of 
r  publicity  department,  in  the  middle  of  which  Mr. 
rrick  arrived  direct  from  the  set.  in  make-up  and 
thout  jacket.  A  pleasant  chap,  direct  and  sincere. 
You  no  doubt  saw  him  as  the  intrepid  English  avi- 
>r  in  "The  Sky  Hawk."  in 
ich  he  des  a  Zep- 

dianded.  during 
London  air  raid. 
Hie  nearest  touch  to  re- 
ty  in  the  picture  was  the 
rt    that    John    Garrick    is 
illy     English.       He    was 
rn  in  Brighton,  the  queen 
*lish  watering  p' 
.e     guidebooks     de- 
Tbat  gay 
iast.  where  the 
ick  kings  had  a  pa- 
in  which  very  merry 
place,   until 
>ria  arrived  with 
I 

-  >tb- 
\ to  do  with  John  Garrick. 
nention  it  merely  to  show 
u  that  Brighton  is  a  nice 


a    the   present    John 

nt     to     school     be     was 

by    his    real    name. 

ginald    Dandy,    and    had 

.  that  he'd  change  it. 

He  left  college  and  rather 

luctantly  entered  a  bank. 

•    tlity  of  the 

uld  not  quench  hidden  de-ires.    Reg 
is   musical.      He    cast    lingering    glances    toward    the 
In  fact  he  did  more  than  that  -be  got  up  an  act 
itiated  a  tour  in  vaudeville. 

meant  bigger  and   better  things   in   the   artistic 

After   playing  bis   act   throughout    the    British 

Mr.  Dandy  was  given  a  part  in  a  London  revue. 

his  beii  ustralia  with 

al  -tuck  company.  inald   Dandy  packed 

ralian  tour  proved  lucnr 
id  in  "Rose-Marie"   for  I 
ing  thing  from   - 

a  year  arrived   in 


More  players 
have  been  killed 
by  mixing  with 
the  public  than 
by  poor  pic- 
tures, says  Mr. 
Garrick. 


John  Garrick's  thorough  training   in  England 
and  Australia  tells  in  his  films. 


the  Hay  City  and  appeared  in  a  piece  called 
"The  Wishing  Well."  It  played  there  for 
four  weeks,  then  came  down  to  Los  Ai  _ 
where  it  wished  for  three  nights  and  dried  up. 
Nevertheless,  Mr.  Dandy  got  hold  of  a 
manager,  who  scouted  around  in  the  movie 
field.  Soon  the  young  man  was  signed  by 
Fox  to  act.  talk,  and  sing  and,  if  necessary, 
to  dance  in  their  offerings  to  the  world. 

The  only  change  his  entry  into  pictures 
has  made  in  his  life  is  that  a  new  name  was 
bestowed  upon  him — John  (iarrick. 

"It  was  no  desire  of  mine."  the  newly 
created  Mr.  (Iarrick  explained.  "My  real 
name  suggested  'line  and  dandy.'  Again  it 
sounded  too  much  like  Reginald  Denny." 

Such    things    as    these    must    be    guarded 
against,  even  though  possessing  two  names 
rather  confusing.     Friends  will  hail  him 
with    "Hello.    Reg!"      Acquaintances    will 
shout  "1  lowdy.  John  !" 
At  the  studio  John  (iarrick  is  on  duty.     At  home  Regi- 
nald Dandy  holds  sway.    For  Mr.  (iarrick  sees  no  reason 
why  be  must  be  an  actor  in  both  places.      In    fact   he  is 
rather  aloof  about  his  private  life     Not   that  he  minds 
telling   you   where  he  comes    from   and   how   he   worked 
y  up.      He  said  hf-  thought  an  actor's  life  should 
remain  unknown   to  the  public. 

"To  me  then'-,  always   something  glamorous  and  un- 
real about  acting."  John  .said.     "I'm  a  movie  fan  n 
I  still  get  a  thrill  out  of  pictures.      I  hope   I  always  will. 
It  gives  mi-  a  chai  'h  viewpoints  -the  actor's 

I    can   understand    how   the    fans   regard 
:inan  being. 


.-.() 


The  cutest  gob  aboard  the  battleship  California  is  Loretta  Young,  who  is  only  safe  from  the  boys  when  atop  the  big  guns. 


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A  fresh  haul  of  news,  gossip,  and  other  interesting  items  from  the  surging  sea  of  studioland. 


m      i 


TRUST  Mary  Xolan  to  capture  the  spotlight.    She's 
the  real  stormy  petrel,  and  even  if  she  were  living 
the  life  of  a  hermitess,  she  would  manage  to  be 
in  hot  water. 

Alary  blazes  into  the  news  headlines  once  every  so 
often,  and  the  sparks  from  her  latest  fiery  outburst  are 
still  falling.  Tt  was  fiery,  too,  because  it  seems  to  have 
been  owing  chiefly  to  a  sizzling  case  of  sunburn. 

There  was  a  terrific  pyrotechnic  display,  at  all  events, 
when  she  went  to  a  hospital  for  treatment,  and  two 
nurses  who  had  attended  her  at  some  previous  time 
took  occasion  to  swear  to  affidavits  that  she  was  a  nar- 
cotic addict. 

Investigation  failed  to  prove  the  charge,  and  at  latest 
reports  the  Federal  authorities  who  were  looking  into  the 
affair  weren't  even  interested.  Alary  herself  stormed 
denials,  indicating  that  spite  inspired  her  accusers. 
Everybody  in  I  Tolly  wood  got  more  or  less  concerned, 
too,  including  the  guardians  of  the  film  industry's 
morals. 

The  dust,  colorful  though  it  was.  took  quite  a  while 
to  settle,  and  when  it  did.  inquiry  determined  that  the 
--unburn  was  really  a  bona  fide  gift  from  Sol's  rays,  and 
was  acquired  while  Alary  was  on  vacation  at  Lake  Ar- 
rowhead: She  took  a  nap  while  out  in  a  boat,  slept  too 
long,  and  her  back  and  shoulders  were  badly  scorched. 
1  lor  bathing  suit  was  cut  low,  according  to  the  mode,  and 
thai  was  what  gave  the  sunshine  its  advantage. 

I  I  e  be  '  proof  thai  Mary's  career  will  sail  on  undis- 
turbed is  that  she  has  recently  worked  in  several  films. 
and    Universal    has   numerous   brighl    features   scheduled 


for  her.  Henceforward,  to  avert  the  turmoil  which 
pursued  her,  she  declares  she'll  take  a  parasol  with  her 
wherever  she  goes  in  a  bathing  suit. 

The  Song  Is  Ended. 

Will  a  reconciliation  be  reached  between  Gloria  Swan- 
son  and  her  marquis? 

Answer  is  "No !"  around  movieland. 

While  thev  have  merely  talked  separation,  it  is  as- 
sumed that  the  break-up  will  go  the  way  of  all  others. 
Separation  first,  and  then  divorce — much  sooner  than 
expected. 

Rumors,  of  course,  also  hint  that  Constance  Bennett 
will  be  the  next  marquise.  She  and  "Hank"  are  seen 
together  from  time  to  time. 

A  few  years  ago  Gloria  told  us  that  she  felt  that  her 
marriage  "simply  must  succeed." 

The  marquis's  long  absence  in  Europe,  her  own  great 
triumphs  recently  in  pictures,  and  the  enjoyment  that  she 
finds  now  in  life  in  Hollywood,  have  altered  her  per- 
spective. The  marquis's  desire  for  independence,  and  a 
career  of  his  own.  probably  resigned  him  to  the  situation. 
He  didn't  want  to  be  just  the  husband  of  a  famous  star, 
an  attitude  of  mind  that  is  not  absolutely  unique  by 
any  means. 

Mickey  His   Idol. 

I  [err  Rene  Fulop-Miller  has  come  and  seen,  and  now 
is  back  in  Europe  to  write  a  book  about  Hollywood.  You 
may  know  him.  if  you  go  in  for  heavy  reading,  as  the 
author  of  "Rasputin.''  I  .Mind  and  Face  of  I'-l- 
shevism."  and  "The  Secrets  and  Power  of  the  Jesuits* 


Hollywood   High    Lights 


He  came  to  the  film  colony  alter  visiting  the  Island  of 
Athos,  near  Greece,  which  is  inhabited  only  by  solitaries 
ami  penitents      S     the  cinema  world  must   have  been  a 

llerr  Fulop-Mil  while  he  visited  was 

lians,  and  just  wh\    the  public  should  be  so 

irbo.    He  admires  her,  luit  he  couldn't 

should  be  responsible   for 

a  mania. 

We  had  the  pleasure  of  accompanying  llerr  l-'ulop- Miller 

e  Wall  Disney,  the  creator  of  Mickey  Mouse,    lie  was 

m>Tc  anxious  to  view  the  little  cardboard  star  "in  person" 

than  any  celebrity  in  the  films.     Ami  we  don't  blame  him, 

use  whoever  doesn't  care  for  Mickey  ought  to  he  cut 

up  into  eardlx>ard  himself. 

Again  They're  Severed. 

Only  a  separation  for  professional  reasons — and  lack  and 

Ina   are   enduring    it    as    happily    as    possible.      Meaning 

that  when  Ina  Claire  went   East  to  appear  in  '"The   Royal 

Family."  Jack  Gilbert  was  unable  to  accompany  her.     It 

looked  doubtful  if  he  would  he  able  to  join  her  even 

after  completing  "Way  for  a  Sailor."  he  was  so  busy  with 

plans  for  his  next  production.     You  see.  because  of  the 

ue  to  troubles  with  his  voice  recording,    Jack   is 

behind  schedule  in  his  films.     And  he  is  ambitious  to  keep 

g  on.  now  that  he  believes  he  has  found  the  righl 
of  vehicles.     At  that,  we  hear  "Way  for  a  Sailor"  .lid  not 
thly. 
ne. 
Ina  Claire  was  a  dazzling  suc- 
ment  in  "Re- 
bound"   just    prior   to   her   depar- 
ture.    The  opening  night  was  al- 
St  like  a  movie  premiere,  what 
wi:  onlookers. 

and  the  number  We  wondered  who 

would  side  Jack  at  the  opening,  and  were  struck 

with    mild    surpr  n    it    turned    out    to    he     Kay 

Francis.  Jack.  Ina.  Kay.  Constance  Bennett,  Lionel 
Barrymore.  and  various  others  were  at  a  dinner  party 
before  the  premiere,  and  attended  the  theater 

Jackie   Coogan 


Some  retaking  and  rerecording  hail 


Bruce    Rogers    is   will- 
ing   to    be    "America's 
Boy    Friend"    just    as 
brother  Buddy  is. 


At  the  time  she  was  also  in  dread  of  microphone  fright. 

The  nickname  "I loo"  was  acquired  when  she  was  a 
child,  because  it  was  a  pet  word  of  hers.  "Auntie"  was 
a  tribute  to  her  quiet  demeanor,  we  suppose,  or  else  just 
an  idiosyncrasy  such  as  chorines  occasionally  incline  to. 


:her 


she' 


Lady  Beautiful's  Nicknames 
Evelyn  !  cknairte 

"Auntie"  by  chorus 
Th<  two  revelatii  5  I  iold- 

wyn'j  r,  which  she  vouchsafed  when 

we  met  her. 

Incidentally,  here  is  a  very  charming  act! 
and  after  a  personal   glimpse   of   her   we  can 
only  hope  that  "Lilli."  her  first  film,  will  es- 
tablish  her   with   the   public. 
Hers    is    a    very    delicate 
blond  beauty,  which 
off  attractively  in   her  garb. 
She  wore  a  summer   suit  of 
dove    blue,     and     a     hat 
match,  when  we  saw  her.  and 
the  shade  t'  empha- 

the  aquamarine  blue  of 
' 

She     e> 
-  the  fact  that  si 
a  light-  "I 

am  tume 

pans   like   Made 
dour."   she    -  had 

my  face  cov 

that    iioIkkIv    p 
knows  what  I  look  HI 


re- 
turns to  the  screen 
to      play      Tom 
Sawyer. 


An  Atmosphere  in  Tune. 

Dolores  del  Rio  knows  her  atmosphere. 
When  it  comes  to  a  setting  for  a  wedding  she 
is  a  stellar  chooser.  Nol  only  did  her  mar- 
riage to  Cedric  Gibbons  have  an  old-mission 
tackground,  bul  it  occurred  as  a  prologue  to 
a  big  Spanish   fiesta. 

Santa   Barbara  was  the  lot-ale  of  the  nup- 
tial ceremony,  and   the   two   were  married   in 
the  evening  by  a  priest  at  the  mission.    Gib- 
bons's  divorce  was  disregarded  for  the  reason 
that  he  was  reared  a  Cath- 
olic, and  the  prior  marital 
knot    had    been    tied    by   a 
justice  of  the  peace.     The 
necessary     dispensations 
were  also  secured. 

The  <  ribbons-1  )el  Rio  en- 
gagement was  announced 
only  a  week  or  two  in  ad- 
vance of  the  wedding. 
The  romance  was  such  a 
irief  one  that  compara- 
tively  few  people  knew  of 

its  existence.    ( mly  a  short 
time   befo  had 

reported  engaged  to 
[oyce,  and  there  ■■ 
rumors  tl  i   ighl  be 

affianced  to  John  Farrow . 


52 


Hollywood   Higk   Lights 


Gibbons  has  been  art  director  at  the  Metro-Gold 
studio  for  five  or  six  years,  and  is  one  of  the  most  com- 
petent men  in  his  field. 

Rebelling   as   Actors. 

Ramon  Novarro  is  about  to  realize  one  of  his  dreams. 

lie  lias  had  a  secret  ambition  to  direct,  and  M.-G.-M. 
may  let  him  do  a  Spanish  version  of  one  of  his  pictures 
for  practice.  It  may  be  '"The  Singer  of  Seville."  now- 
known  as  "The  Call  of  the  Flesh." 

Ramon  isn't  the  only  actor  to  Step  over  into  the  boss 
ing  end  of  picture  making.    Louis  Wolheim  expects  soon 
to    take    the    helm,    and    Lowell    Sherman    has    already 
done  so. 

It  seems  that  quite  a  number  of  able  actors  really 
dislike  acting. 

Music  and  Fortune  Telling. 

At  a  party  recently  given  by  Bess  Meredyth,  the 
scenario  writer.  Ramon  also  demonstrated  skill  as  a 
fortune  teller  with  playing  cards.  Every  lady  present 
had  Ramon  to  prophesy  the  future,  and  emerged  from 
the  seance  glowing 
with  enthusiasm  over 
his  powers  of  divina- 
tion, or  his  luck  in 
dealing  out  the  right 
cards. 

At  the  same  affair 
Bebe  Daniels  and  Ra- 
mon did  Spanish  sing- 
ing duets,  repeating 
"La  Paloma"  several 
times.  "Clavelitos"  and 
"Ai.  ai.  ai,"  Ramon 
playing  the  accompani- 
ments. Xita  Martan 
and  Bebe  sang  sev- 
eral light-opera  num- 
bers, and  Sigmund 
Romberg,  of  "Blossom 
Time"  fame,  presented 
a  medley  of  grand  and 
comic-opera  excerpts. 
There  was  a  Hunga- 
rian chorus  by  way  of 
climax,  which  all  but 
tore  the  roof  down. 
Victor  and  Nusi  Yar- 
coni  were  among  those 

welcomed  at  this  event,  and  various  others  from  the  land 
of  the  Magyars  were  present. 

New  Dyeing  Alibi. 

Bleached  by  the  studio  lights!  That's  what  happened 
ti  i  my  hair  ! 

Here's  a  brand-new  explanation  of  a  change  in  coif- 
fure coloring. 

Natalie  Moorhead  offered  it  to  us.  and  it  is  genuine 
in  her  instance,  because  she  actually  did  lose  some  of 
the  golden  tone  of  her  smart  bob.  since  coming  to  movie- 
land.     And  the  lights  did  fade  it. 

However,  we'll  wager  that  her  explanation  soon  be- 
comes a   familiar  alibi. 

Miss  Moorhead  is  a  really  stunning  person,  though, 
we  believe,  her  frankness  occasionally  gets  her  into  diffi- 
culties. Her  line  of  repartee  is  capital,  and  her  sincerity 
delightful.  She  has  also  made  a  brilliant  place  for  her- 
self as  the  portrayer  of  dashing  vampish  ladies  terroriz- 
ing the  sweet  homy  girls. 

Before  this  is  printed,  perhaps,  she-  will  have  become 
the  bride  of  Alan  Crosland,  the  director. 


The  age  of  innocence:    "Please,  God,  plenty  of  good  breaks,"  mur- 
murs Leon  Janney  to  the  camera  after  mother's  bedtime  story. 


Braves   Sedate   Precincts. 

Mary  Duncan  achieves  a  new  distinction.  She  is  a 
residential  pioneer. 

"[  was  tli>'  first  picture  star  to  invade  the  suburb  of 
Westwood,  and  now  I  have  driven  the  covered  wagon 
into  the  sacred  precincts  of  Fremont  Place." 

This  may  seem  pointless  to  those  unacquainted  with 
1  .os  Angeles.  Fremont  Place  has  long  been  regarded 
as  the  apex  of  dignified  reserve  and  respectability.  It  is 
a  residential  park,  through  which  not  even  the  automo- 
biles of  tourists  are  supposed  to  drive.  One  can  hear  a 
pin  drop  in  the  park  at  midday.  And  Mary  Duncan  is 
the  first  real  invader  from  movieland,  with  the  exception 
of  Elaine  Ilammerstein,  who  has  lived  there  with  her 
husband  since  she  decided  upon  a  retirement  from 
the  screen. 

Fancy  the  flamboyant  Mary  in  this  sedate  environ- 
ment. But  we'll  bet  she  graces  it  with  distinction  at 
that. 

Bob's   Gayety   Crashed. 

Robert  Montgomery  is  a  tamer,  and  perhaps  also  a 
wiser   man.      He   has    ridden   a   motor   cycle   once,   but 

never  again. 

Bob  had  to  kill  time 
between  scenes  of 
"War  Nurse,"  and  so 
having  nothing  better 
to  do,  he  decided  to 
try  high-speed  cycle 
riding. 

The  motor  cycle 
won  the  battle,  though, 
and  ended  by  crash- 
ing into  Martha 
Sleeper's  limousine. 
Bob  was  taken  to  the 
hospital,  and  emerged 
with  his  right  arm 
bandaged. 

"Miss  Sleeper  didn't 

give    me    one    bit    of 

sympathy,   either."   he 

mourned.       "In     fact 

she  was   terribly   mad 

about   the    damage   to 

her   car.      Don't    ever 

say  motor  cycle  to  me  ; 

it's  a  sore  point  with 

me."  as  he  rubbed  his 

bruised  arm. 

Now   Bob   is  doing   all   his   riding   in   a  little   Austin, 

from  which,  he  points  out.  it  is  not  a  far  jump  to  the 

ground. 

Films  All  A-twitter. 
Titles  for  pictures  continue  to  run  in  cycles.  Now, 
for  example,  we  have  "The  Bat  Whispers"  and  "The 
Cat  Creeps."  At  latest  reports,  we  heard  that  there  was 
a  debate  on  as  to  whether  or  not  "The  Dove"  should  be 
called  "The  Dove  Coos." 

Frederick  Lonsdale,  the  playwright,  is  right  up  to 
the  minute,  for  since  he  was  signed  up  on  a  movie  con- 
tract, it  has  been  announced  that  he  has  a  new  play 
opening  in  London  called  "Some  Canaries  Sing."  You 
may  expect  anything  now. 

Birds    of   Another    Color. 

Also  we  heard  the  following  story  told  of  Mr.  and 
Mrs.  Cohen,  theater  owners  from  the  Middle  W'est  on 
a  trip  to  Catalina  Island. 

Mrs.  Cohen  espied  some  sea  gulls,  the  first  she  had 
ever  seen,  and  singling  out  one  close  by.  exclaimed  to 
her  husband.  "Look  at  that  pigeon!" 


Mr.  Cohen,  having  been  on  the  sea  before 

'■That'-  not  a  pigeon ;  that's  a  gull." 
"Gull  or  hoy.'*  his  wife  answered,  "it's  a  pigeon." 

Two    Thespian    Duelists. 

The  riiiLr  has  been  roped  off.  and  it  should  be  a  battle 
royal.    Everybod)    feels  that  V.  ul  Marie 

»ler  will   stage   the   great*  intest 

Dt  all  time  in  "The   Hark  Star."     It   i>  the  first   time 
that  they  have  ever  been  cast  I  and  hoth  of  them 

are  steljar  character  players. 

Miss    Dressier    lias    an    entirely    different    role    from 

5hort,"  and  others  that  she  has  played  in  lighter 

comedies.    "The  Hark  Star."  as  adapted  for  the  screen, 

presents   her   in   a   tragic    impersonation,    relieved,    of 

course,  with  comedy.      It   was   a   natural   step   from  her 

much  acclaimed  interpretation  in   "Anna  Christie."    And 

ax  that  Wallie  will  have  to  look  well  to  his  honors. 

Marjorie  Rambeau,  the  stage  actress  si  in  this 

picture,  with  Dorothy  Jordan  and  Russell  Hopton  doing 

uthful  U 

Other   Rivalries   Imminent. 

There  will  be  rivalry  on  the  hot  sands  of  the  Algerian 
Both  Warner  Baxter  and  Gar)  Cooper  are 
icing  pictures  oi  the  French  Foreign  Legion.  Baxter's 
tons  is  "Reneg  -  I  (oner's  is  called  "Morocco." 
The  beautiful  Marlene  Dietrich  makes  her  Hollywood 
debut   in  the  latter,   and   Adolphe   Mcnjou.is  also    fea- 

Good-by,    Uke! 
Cliff  Edwards  is  getting  rid  of  his  ukulele,     lie's  tired 
>f   strumming  the  darned   old    thing,   and   besides,   he's 
determined  to  be  a  full-fledged  ad 
ind    not    merely    a    song-and-dance 

In   "Three   French   Girls"   he   will 

protwhly   only   carry   the  contraption 

iround.    In  "The  Doughboy"  he  suc- 

reeded  in  smashing 

"And   that   certainly  ijress," 

"Maybe  the  name  'Ukulele 

!1  soon  be  only  a  memory  with 


Elsie    Lures    Crowd. 
>ie  Ferguson  was 
the  heroine  o: 
premiere.     She  pi 
in    "Fata     Morgana." 
uid  drew  the  attention 
e  first  nightt 
was  in  a  nerv- 
ous frenzy  during  the 
net.    but    at    the 
lay  sum- 
lrage  to 
a  curtain  speech. 
the    entire     tenor     of 
was    that    she 
had   rather  appear  in 
my    time 
than  endure  the  a. 
■ 
We  still  cher 

as    on* 
■ 
n  this  particular 
3    willing 
-time  only  a  mod- 
erately good  r 


Hollywood   High   Lights 

replied 


53 


1'om    Douglas,    who   played    the   juvenile   lead,    made   a 

bis  Int.  and  probably  will  In-  seen  on  the  screen  later  on. 
His  role  was  outstanding  in  "Fata  Morgana." 

What   Prlct  Nature? 

"These  apples  have  heen  treated  :  do  not  cat  !     'Sdcath  !" 

This  sign  greeted  us  on  a  setting  not  lout;  ago,  and 
with  reason.  We  were  hi  the  midst  of  an  apple  orchard 
for  "Children  of   Dreams,"  and  it  looked   so  tempting 
that  we  could  imagine  the  extras  and  even  the  stars  raid 
ing  the  branches  fur  their  fruit. 

It  turned  out  that  the  apples  really  had  heen  treated, 
and  would  give  anybody  who  ate  them  a  terrible  stomach 
ache.  They  had  to  he  preserved  long  enough  to  look 
fresh  through  the  entire  picture,  and  consequently  were 
dipped  in  chemicals. 

The  apples  didn't  grow  on  the  trees,  either.     They 
were  simply  attached  to  the  branches.     The  leaves  w 
of  cloth,  and  the  trees  themselves  (had  ones. 

It  was  easier  to  undertake  all  this  labor  rather  than  to 
go  on  location  in  a  real  apple  orchard  tor  the  film.  It 
was  a  musical  picture,  and  the  acoustics  had  to  he  just 
right.     The  set  cost  upward  of  $50,000. 

Tibbett    Grows    Toupee. 

Laurence  Tibbett  is  the  proud  possessor  of  a  frontis- 
piece, and  he  is  not  hound  in  vellum,  either.  It  is  mcrcK 
an  addition  of  hair  to  relieve  his  high  forehead.  It  will 
he  seen  for  the  first  time  in  "New  Moon,"  and  is  ex- 
pected materially  to  increase  his  personal  glamour. 

The  studio  make-up  artists  never  r< 

Time  Out  for  Anniversary. 
Kay  Johnson  is  looking  forward  t"  her  second  wed- 
ding anniversary.  It  comes  in 
(  >ctober,  and  she  and  John 
Cromwell  plan  to  celebrate  elab- 
orately this  year. 

"The  reason   is  that   last   year 
we    hoth    forgot."    Kay   told    US. 
"Can   you   imagine  that   on  our 
first  wedding  anniversary  ?    We 
were    married    on    the    4th    of 
Octoher,     and     when     it     came 
round  to  the  14th.   I, 
poor  misguided  mor- 
tal that  I  am.  thought 
that  that  was  the  day. 
"I    had    a    lovely 
cake    baked    for    the 
occasion,     and     then 
cried      properly     he- 
cause  John  had  over- 
looked the  d 
\   .  "When    I   had   fin- 

ished crying,  he 
smiled  and  shook  his 
head.  AYhy  dear, 
don't  you  remember 
that  we  were  married 
on  the  4th  v  Then  I 
was  mad  !" 

Saying   It   with 

Flowers. 
A     premiere    with 
gardeni: 

Ann  I  larding  made 
the   opening   of 
new    picture    "Holi- 
day"  memorable   bj 
109 


Robert   Montgomery  and   Dorothy   Jordan 
£ive  their  version  of  ''Love  in  the  Rough." 


\ 


54 


V 


P by  Dyar 

Miss  Francis  calls  Ronald  Colman  "a  dear"  and  he  returns 
ment  with  such  emphasis  that  Kay  may  be  his  dream  gi 

A  TREAT  for  numerologists,  Kay  Francis  was 
born  on  Friday,  January  13th,  in  the  thirteenth 
month  of  her  parents'  marriage.  Just  what  this 
indicates  I  have  no  idea,  but  it  is  probably  something 
very  complicated.  All  that  the  layman  can  deduce  is 
that  the  thirteen-ridden  infant  turned  out  rather  well. 
Some  one  has  obviously  made  a  grave  error  in  advancing 
the  misfortune  theory  which  tarnishes  this  number.  If 
a  combination  of  thirteens  can  produce — together,  of 
course,  with  the  usual  and  requisite  circumstances — a 
Kay  Francis,  then  fie  on  your  superstitions.  (Cries  of 
"Right-o!"  and  "Fie  on  your  superstitions !"  from  myriad 
nude  throi 

I  pondered  on  the  fallacy  of  numbers  as  we  sat  in  her 
dressing  room.     There  was  Kay  feeling  slightly  uncom- 


Oklak 


oma 


Proud  of  its  daughter  Kay  Francis,  the 
But   the   brunette   charmer   remembers 


B>>  Margaret 


fortaMc.  She  hasn't  yet  acquired  the 
movie  capacity  for  "giving  to  her  public" 
through  the  medium  of  the  press. 

"In  the  theater,"  she  observes,  "no  one 
particularly  cares  where,  when,  how,  or 
why  you  were  born,  what  your  favorite 
salad  is.  or  your  opinion  of  the  Indian  salt 
strike.  And  they  don't  give  a  whoop  about 
your  sex  life.  You  have  one  or  you 
haven't — it's  all  the  same  to  them.  They 
have  sex  lives  of  their  own  and  would  be 
terribly  bored  by  a  recital  of  any  one 
else's." 

When  she  arrived  in  Hollywood,  via  the 
Paramount  studio,  she  was  considerahlv 
disconcerted  by  the  almost  clinical  curiosity 
'manifested  in  picture  players.  In  the  midst 
of  gathering  her  forces  for  a  big  scene, 
some  eager-penned  son  or  daughter  of  the 
press  would  rush  up  and  demand  her  theo- 
ries on  career  versus  marriage. 

"In  the  first  place,  I  don't  theorize  about 
marriage.  It  works  or  it  doesn't,  depend- 
ing only  on  the  participants.  In  the  second 
place,  I  never  have  theories  of  any  kind 
when  I'm  about  to  go  into  a  big  moment 
for  the  camera  and  posterity.  One  idea 
at  a  time  is  all  I  can  manage." 

She  laughed.     Most  things  are,  for  that 
matter,   very   funny  to  Kay.      For  which 
reason,    it   is   almost   impossible  to   annoy 
her.     Even   the   confusion   of   studio   me- 
chanics   doesn't    stifle    her    humor.      The 
possessor  of  steady  nerves  and  a  sense  of 
keen  amusement,   she  indulges  in  no  dis- 
plays of  temperament.     Thus  making  ob- 
vious one  of  the  reasons  why  Hollywood's 
resentment  of  stage  recruits  has  dwindled. 
But  this   is  getting  us  nowhere.      Miss 
Francis   was   born    in    Oklahoma    City   on 
and    notwithstanding   the   date    previouslv 
mentioned,  thus  proving  that  looking  like 
the  compli-        a   sketch   in    Jroc/iir   has   little   to   do   with 
rl   after  all.         ] 'ark  Avenue.     Her  mother  was  Katherine 
Clinton,   an  actress   of   note  who  gave  up 
her  career  after  marrying  Kay's  father.    When  Kay  was 
a  year  old,  her  family  moved  to  Santa  Barbara,  later  to 
Los  Angeles,  then  to  Denver. 

When  the  pride  of  Paramount's  dress  designers  was 
four  years  of  age.  her  mother  took  her  to  New  York. 
There  Miss  Clinton  returned  to  the  stage  and  Kav  began 
a  school  career  which  included  convqnts  in  Fort  Lee, 
New  York,  Garden  City,  and  Massachusetts,  and  con- 
cluded at  Miss  Fuller's  School  for  Young  Ladies  ;.: 
Ossining.  After  this  educational  orgy.  Kay  drew  a  deep 
breath  and   faced  the  world. 

Having  too  much  energy  for  leisure,  she  looked  about 
fi  ir  something  to  do. 

"1   hadn't  been  especially  interested  in  the  stage, 
since  that   was  my  mother's  profession,   it   naturally   0Ci 


Defies  Broadway 

West  challenges  the  East  to  excel  her  in  sleek  worldlii. 
four  convents  and   a  finishing   school   somewhere   between. 

Reid 


curred  to  me  as  first  choice.  Mother,  however,  discouraged  it. 
Parents  who  are  of  the  theater  are  always  aghasl  at  the  p 
bility  of  their  offspring  contracting  the  virus.  They  themselves 
will  never  definitely  leave  the  stage,  but  they  try  to  guard  their 
children  from  becoming  drugged  with  the  same  love  of  it.  to  the 
:t  oi  cheerfully  enduring  all  the  hard  work  and  disappoint- 
ments that  go  with  it.  But  if  the  theater  is  in  your  blood,  the 
precautions  seldom  work. 

"Mother  \  isible  a  person  to  forbid  my  going  on  the 

-he  advised  against  it  and  I  respected  her   judgment, 
iter  looking  around  for  something  else  to  do.   I  decided  on  a 
.11  things." 
Enrolling  in  a  secretarial  school,  she  studied  shorthand  and  type- 
writing and  emerged,  at  the  end  of  the  course,  a  completely  effi- 
cient secretary  for  some  lucky  financier.     And  immediately,  with 
blithe   inconsistency,    she   abandoned    all    thoughts   of    typewriters 
and  such,  and  went  to  Europe!     There  Kay  wandered  aimlessly 
around  France.  Holland,  and  England. 

"It  was  an  awfully  rough  crossing  and  the  third  day  out  T  was 
the  only  woman  on  deck.  Sitting  in  the  rain  and  wind  on  the  top 
deck.  I  had  a  sudden  feeling  of  tremendous  self-confidence.  T  felt 
indomitable.  All  I  could  think  of  to  decide  about  was  a 
career.  So  I  determined  to  make  good.  And  at  nothing  so  simple 
enography.  Mother  had  impressed  me  with  the  difficulties 
and  travail  of  the  theater.  That  would  be  the  real  triumph,  I 
thought.     It  was  th<  .r  nothing,   from  then  on.*' 

As  soon  as  Kay  landed,  she  announced  the  momentous  decision. 
Her  mother  resignedly  agreed  that  if  she 
must,  she  must — but  it  would  be  without 
the  unfair  advantage  of  parental  aid  and 
influence.  And  it  was  quite  on  her  own 
that  Kay — then  Katherinc — a  few  v 
later  obtained  the  part  of  the  Player 
Qiit'o:  in  a  modern-dress  version  of 
"Hain't- 

The  tall,  dark,  inviting-looking  young 

player    queen     was     considerably    talked 

about  on  Broadway.     But  Kay,  who  ha< 

a  head  on  her  shoulders  which  no  amount 

of  pleasantry  can  inflate,  wanted  to  make 

sure.    When  "Hamlet*'  close  '  ined 

Stuart     Walker's     stock     company     and 

d  apprenticeship  in   Cincin- 

Indianapolis.     and     Dayton,     after 

he  returned  to  New  York.     Op- 

in  "Crime."   and 

.ton,    in    "Elmer   the   Gn 

Francis  was  a  name  of  importance 

around     Time-     Square.      And    national 

fame,  as  an  adjunct  to  m  -  immi- 

■ 

n   Median,   who  bad   directed   Kay 
was  codirecting  with   Mil- 
.'•ntlemen  of 
ban  and  Walter  Hu 

of  the  | 

'i  pictures  by  m< 
of  the  sirenic  heavy  of  this  pictur 

equally  determined  t'  houldn't. 

**The   very   tl 


Kay   is    humorous, 

poised,     matter     of 

fact. 


Kay  Francis  took  a  secretarial 

course    when   her    mother,    an 

actress,    advised    her    against 

the  stage. 

me  off.  I).  \Y.  Griffith  had 
made  a  test  of  me  three  years 
before  and  it  was  a  notable 
fiasco.  I  was  convinced  that 
the  screen  was  not  for  me. 
and  tried  to   forgel   it." 

Median  and  1  [uston,  how- 
ever, marie  life  miserable  un- 
til -he  satisfied  them  ]>■ 
ing  over  to  the  Paramount 
studio  for  a  tesl  I  hi-  one 
turned    out    differently    and 

i    her  the  added  advant 
of  being  audible.      I  • 
oil-  of    the   camera    i 
she  could  use  her  voice,  and 
1 12 


The  desert  location  for  "Beau  Geste"  was  the  scene  of  many  practical   jokes   peculiar   to   the   actor's  point  of  view. 

I  Stop  to  Look  Back 

The  concluding  installment  of  a  leading  man's  autobiography  is  as  lively  and  authentic  as  the  beginning 

which  found  him  a  small  boy  in  New  England  who  was  to  endure  trials,  tribulations,  and  privations 

before  achieving  success  in  the  profession  he  dignifies  to-day. 

B$  Neil  Hamilton 


Part  VI. 

THE  desert  location  for  "Beau  Geste"  was  near 
Yuma,  Arizona,  about  eight  hours  from  Holly- 
wood. We  arrived  early  in  the  morning  and  were 
herded  into  cars  and  driven  across  the  roughest  stretch 
of  road  imaginable  right  into  the  desert,  which  turned 
out  to  be  just  what  we  thought  the  Sahara  must  look 
like. 

At  this  particular  spot  there  was  only  one  main  road, 
built  of  plank,  wide  enough  for  only  one  car.  but  at 
intervals  of  a  quarter  of  a  mile  there  was  an  extra  width 
to  permit  cars  to  pass  one  another.  We  drove  seventeen 
miles  over  this  road,  and  then  made  a  sharp  left-hand 
turn  under  a  huge  sign — "Beau  Geste"  Location. 

In  order  to  reach  the  camp  site  we  had  to  travel  over 
a  road  made  of  planks,  too,  across  three  miles  of  un- 
dulating sand  dunes,  built  by  Paramount  at  a  cost  of 
Si  7,000  just  for  this  purpose.  It  ended  on  the  rim  of  a 
huge  valley,  about  one  and  a  half  miles  wide  and  two  and 
a  half  long,  surrounded  on  all  sides  by  sheer  walls  of 
sand,  rising  in  places  six  hundred  feet. 

At  one  end  there  was  a  tent,  the  largest  I  have  ever 
i,  which  was  the  extras'  dining  hall,  and  this  was 
surrounded  by  hundreds  of  smaller  ones,  the  living 
quarters.  On  the  outskirts  were  the  many  corrals  neces- 
sary for  the  thousand  horses  and  the  hundred  camels — 
a  veritable  city  in  itself,  with  its  post  office  and  stores. 
At  the  far  end,  grouped  around  "Beau  Geste"  Square, 
wire  the  tents  of  the  principals. 

Ralph  Forbes  was  my  tent  mate.  It  was  Ralph's  first 
location  trip  in  this  country,  and  he  had  brought  along 
many  revolvers  with  which  he  intended  to  shoot  rattlers. 

My  first  night  in  camp  was  sufficient  to  place  Ronald 
Colman  at  the  head  of  the  list  of  eood  fellows,  and  from 


then  on  he  was  "Ronny."  It  all  happened  thus:  I  was 
walking  around  in  the  brilliant  moonlight,  by  which  one 
could  easily  read  a  newspaper,  and  bumped  into  him. 
He  asked  me  what  I  was  doing,  and  to  my  negative 
answer  he  said,  "Let's  have  some  fun!"  Like  two  con- 
spirators we  sought  out  Victor  McLaglen's  tent,  loosened 
all  the  ropes,  and  a  few  hard  pulls  on  the  main  rope 
brought  down  the  whole  on  the  friendly  game  of  cards 
going  on  within. 

From  that  night  on  during  the  four  weeks  in  camp  it 
was  not  safe  to  go  to  bed  without  first  inspecting  one's 
entire  tent.  No  one's  was  sacred.  Can  you  wonder  that 
the  "Beau  Geste"  trip  has  remained  so  vivid  in  my  recol- 
lections ? 

We  lived  absolutely  according  to  military  regulations. 
The  bugle  awakened  us  at  five  thirty ;  called  us  to  break- 
fast at  six ;  to  work  at  seven  ;  twelve,  lunch ;  at  one,  to 
resume  work ;  at  five  we  quit,  and  ate  at  six.  At  sun- 
down a  very  impressive  ceremony  was  the  lowering  of 
the  flag,  with  the  thousands  of  men  standing  at  attention. 
Taps  were  sounded  at  ten  thirty,  when  all  were  supposed 
to  put  out  lights. 

We  were  only  ten  miles  from  the  Mexican  border. 
The  camp  was  at  all  times  patrolled  by  armed  guards  to 
protect  the  stock  and  the  quarters.  I  never  will  forget 
these  armed  riders,  for  one  day  while  walking  on  a  dis- 
tant sand  hill,  I  was  espied  by  Mr.  Brcnon,  and  was 
pointed  out  as  having  the  natural  gait  of  one  who  had 
spent  many  years  in  the  desert.  He  hastily  called  several 
of  his  assistants  and  the  cast  around  him,  and  had  them 
observe  me  through  their  binoculars.  My  walk  was  the 
natural  one  caused  by  trying  to  pull  my  feet  out  of  the 
soft  sand.  What  was  my  surprise  then,  to  find  two 
horsemen   galloping   toward   me,    who   wanted   to   know 


I   Stop   to   Look    Back 


[rho  I  was.  I  never  hoard  the  end  of  this  story  from 
Mr.  Brenon  himself,  but  members  of  the  cast  told  me 
that  he  was  much  chagrined  to  find  that  his  solitary 
:  was  not        ther  than  a  member  of   his  own 

Company,  whose  feet  dragged  because  he  was  tired. 

.  of  the  funniest  incidents  was  the  night  we  nailed 
Bill  Powell's  shoes  to  tin-  floor.     Next  morning,  being 
lato.  he  thrust  his   feet  into  his  shoes  and  started  to 
iway,  only  to  fall  flat  «>n  his  face. 

si  ikes  wue  very  numerous  all  around.    Never 

w- ill  I  forget  the  night  that  Ralph   Forbes  decided  he 

ad  to  try  out  his  new  i;iiih  on  the  reptiles.     With 

the  aid  of  a  lantern  it  was  easy  to  find  their  tracks  on 

'ley  always  left  a  letter  S.      I  carried  the 

lantern.   Ralph  the  i,runs.      We   soon    found   the   tracks 

of  one  which  we  trailed  to  a  small  dump  of  sagebrush. 

Ralph  spotted  it  and  let  go  with  both  guns,  completely 

rting  that  I  was  standing  right  in  front  of  him.     T 

dropped  the  lantern  and  ran.     1  never  went  out  rattle 

snake  hunting  with  him  attain. 

Finally  came  the  day  when  all  work  was  finished  at 
the  camp,  except  for  the  burning  of  the  fort,  in  which 
took  place  the  memorable  scene  of  the  Viking's  funeral. 
This  was  impressive,  hut  not  50  much  so  that  we  forgot 
to  revel  in  the  idea  that  we  were  returning  to  civiliza- 
tion. The  next  day  we  entrained  for  Hollywood,  and 
on  returning  home  I  was  startled  by  seeing  street  cars 
ind  hearing  a  telephone  rinsr  It  seemed  as  though  we 
had  been  away  for  years. 

Tw  ifter  the  completion  of  "Beau  Geste"  at 

the  studio  I  started  "Diplomacy,"  in  which  I  had  the 
pleasure  of  knowing  for  the  first  time  Earle  Williams. 
prhose  death  a  few  months  later  I  deeply  regretted,  as 
he  was  ..tie  of  the  finest  men  T  had  met.  T  had  worked 
with  him  as  an  extra  hack  in  the  Vitagraph  studio  when 
he  was  one  of  the  biggest  stars,  and  although  he  had 
seen  his  position  occupied  by  other  names  he  was  not 
envious  of  them. 

I  was  then  smt  to  New  York  for  "The  Great  Gatsby" 
—my  first  trip  East  in  two  years.     "The  Great  Gatsby" 
directed  bv 

Mr.  Brenon,  and  dur- 
ing the  making 

f    met    for   the    first 
time  Warner  P.axter 
ind    Lois    W 
both    of    whom    I 
number    among    my 
f  ne  n  r  1  s 
now.     It   was  W.ir- 
:ence  that 
prompted  me  to  buy 
the  lot  next  t<> 
Malihu    Beach,    and 
th    built     our 
'/out    the 
Same  time. 

We  returned  West, 

and    I    was    lent    to 

Fox     for    "Mother 

Machree."    meeting 

for     the     first     time 

and  it 

ly  after  work- 

:h    her 

that  I  dis- 
!.  and  only  by 
accident,    that 

i     young    and 
chani  id  of  the  old  lady  she  port' 

■i    shipped   to   New    York    for 
ster."    with    Lois    Moran   and    All 


For  sheer  charm 
in   the   careers 


"The   Music   Master"  was 
of    Lois    Moran   and    Neil 


Neil    was    the    first    leading   man    to 

sing   from   the   screen,    in   "Mother 

Machree." 

Francis,  and  the  night  we  went  to 
sec  "Beau  Geste"  at  the  Criterion 
Theater,  electric  lights  blazoned 
"Welcome  to  Neil  Hamilton."  It 
was  a  great  thrill,  especially  when 
I  remembered  that  some  seven  or 
eight  years  before  I  had  walked 
past  this  theater  hundreds  of  times 
without  a  dime  in  my  pockets. 

On  our  return  West  there  were 
retakes  for  "Mother  Machree." 
and  I  was  asked  if  I  could  sing. 
It  so  happens  that  I  use  the  same 
tune  for  "God  Save  the  King." 
that  I  have  for  "Annie  Laurie." 
However,  I  play  the  piano  well 
enough  to  accompany  myself 
for  three  weeks  I  practiced  the 
SOng  "Mother  Machree"  and  then 
made  a  Movietone  record  which 
was  used  in  the  picture.  Though 
it  did  not  lead  to  an  engage- 
ment with  the  Metropolitan  Opera 
impany,  it  did  earn  for  me  the 
doubtful  honor  of  being  the  first 
leading  man   to  Bing   in  a   picture. 

"The    Showdown."    with    George    Bancroft,    was    fol- 
lowed  by  "The    Patriot."      And   now    I    come   to   what    I 


a  high  light 
Hamilton. 


58 


I  Stop  to  Look   Back 


consider  the  most  interesting  period  of  my  whole  career 
— Lubitsch  and  Jannings.     I   found  Jannings  to  be  one 

of  the  finest  actors  I  have  ever  worked  with  and  also  one 
of  the  simplest  persons.  We  had  a  great  deal  of  fun 
together,  as  |  was  able  to  palm  off  my  very  had  German 
on  him. 

Mr.  Lubitsch,  with  all  due  respect  to  other  directors, 
I  think  is  the  possessor  of  the  finest  constructive  intellect, 
being  not  only  a  line  director  and  a  fiend  for  detail,  but 
himself  a  very  excellent  actor.  I  lis  method  is  entirely 
different  from  that  of  any  other  director,  as  he  is  never 
satisfied  and  will  spend  hours  on  a  scene,  striving  to  get 
it  a-  he  knows  it  should  he.  To  my  mind,  "The  Patriot" 
was  the  finest  picture  1  have  ever  witnessed. 

It  also  brought  about  my  first  meeting  with  Lewis 
Stone.  If  he  ever  could  he  prevailed  upon  to  make  per- 
sonal appearances,  audiences  would  he  in  luck,  as  his 
gift  of  story-telling  is  unique. 

1  shall  always  remember  '"Take  Me  Home,"  as  it  was 
then  that  I  met  that  most  remarkable  of  comedians,  Joe 
E.  Brown.  My  story  would  he  incomplete  if  I  failed  to 
give  some  recognition  of  Mr.  Brown's  abili- 
ties. In  the  years  I  have  been  in  Hollywood 
1  have  met  a  great  many  ladies  and  gentlemen 
whom  I  have  admired,  hut  whose  friendship 
seemed  naturally  to  lapse  when  we  no  longer 
worked  together.  But  my  friendship  with 
Mr.  Brown  is  such  that  I  would  forgo  ally- 


ing with  lulie  Daniels,  who  was  number  five  on  the 
1927  poll ;  with  Clara  Bow,  number  two  then,  and  now 
number  one;  and  with  Colleen  Moore,  number  one,  and 
now  number  two. 

My  last  picture  in  1928  was  with  Miss  Moore, 
"Why  Be  Good,"  for  which  purpose  I  was  lent  to  First 
National,  or  as  the  actors  have  it,  "sold  down  the  river." 
This  engagement  with  Miss  Moore  and  William  Seiter, 
the  director,  was  a  most  pleasant  one,  remembered,  if  for 
nothing  else,  by  the  succession  of  delightful  and  economi- 
cal lunches  that  we  used  to  have  in  a  little  restaurant 
in  Burbank,  which  serves  the  world's  most  colossal  salad 
creations  for  fifteen  cents.  Five  of  us  usually  dined 
together — Miss  Moore,  the  first  cameraman,  Mr.  Hicock, 
the  second,  Mr.  Freulich,  Mr.  McKay,  my  secretary,  and 
myself.  Each  day  one  of  the  five  would  pay  the  bill,  and 
whoever  drew  the  honor  would  be  loud  in  his  denunciar 
tion  of  dessert  or  extra  sandwiches. 

I  cannot  forget  the  treatment  accorded  me  by  Mr. 
Seiter.  He  is  that  rare  personality  in  the  business  who 
does  not  believe  in  working  after  four  thirty.  Having 
been  an  actor  himself  once,  he  realizes  that  a 
day  spent  in  front  of  the  cameras,  with  one's 
vitality  being  slowly  consumed  by  the  terrific 


thing  to  he  in  his  company. 
ability  as  a  comedian  is  at  all 
times  apparent,  but  it  never 
overshadows  the  fact  that  he 
is  a  perfect  gentleman  and  a 
devoted  father.  His  two  hoys. 
Joe.  Jr.,  and  Don,  nine  and 
eleven,  attend  the  Urban  Mili- 
tary Academy  in  Hollywood, 
and  he  and  Mrs.  Brown  are 
always  with  them  when  they 
can  get  away  from  school. 
The  boys  reflect  the  splendid 
training  they  arc  receiving 
both  at  home  and  at  school.    •■ 

"What  a  Night"  followed. 
I  think  it  was  the  first  time 
any  leading  man  made  three 
pictures  in  a  row  with  Bebe 
Daniels.  This  was  her  last 
picture  for  Paramount,  and 
her  departure  T  deeply  re- 
gretted, because  I  found  her 
to  he  one  of  the  most  delight- 
ful women  T  had  ever  worked 
with. 

Then  came  "Three  Week- 
ends," with  that  extraordinar- 
ily gifted  personality,  Clara 
Bow.  I  had  always  stood  in 
awe  of  Miss  Bow,  hut  my 
fears  were  for  naught,  for  I 
found  her  to  he  a  very  simple. 
•  person,  interested  in  giv- 
ing every  one  an  equal  break, 
always  works  for  the 
of  the  picture  as  a  whole. 

Until     1928    T    had    never 

d    with    any    of    the    big 

the  business.    By  big 

names  T  mean  those  who  have 

won   a   position   above   twelfth 

in    the    exhibitors'    poll.      This 

.  however,  found  me  play- 


His    marked 


Pacing 

streets  of  New  York 

without  a  dime,  Neil 

tt         • ,  ..  V....I        heat  ot  the  lights,  is  no  easy  task. 

Hamilton     little  ™  ...  &      , '  ...  J,        , 

dreamed    that    he  * ne  wntlng  oi  this  story  has  been  a  great 

would  one   day  sail      pleasure  to  me,  and  I  hope  it  has  not  smacked 
his     yacht     in     the      to°  much  of  Horatio  Alger.     I  have  found  it 
Pacific.  impossible  to  give  due  recognition  to  all  those 

I  have  been  associated  with. 
I  am  proud  to  be  an  actor. 
It  is  my  hope  that  theatergoers 
throughout  the  world,  includ- 
ing those  who  have  read  this 
autobiography,  will  continue 
to  receive  me  after  I  have 
graduated  from  leading  man 
into  a  character  actor — when 
in  a  word,  I  become  a  vet- 
eran. The  life  is  an  arduous 
one,  but  nothing  would  make 
me  happier  than  to  think  that 
when  I  reach  the  age  of  such 
artists  as  George  Fawcett  and 
Claude  Gillingwater,  I  will  still 
be  welcome  before  you. 

It  is  fitting  that  I  close  with 
a  tribute  to  the  person  who  has 
dominated  by  life — my  mother. 
She  will  continue  to  occupy  a 
stellar  position  in  my  memory, 
although  I  suffered  her  loss 
while  writing  this  last  chapter. 
When  I  began  this  story  it 
was  mostly  for  her,  as  she 
would  have  derived  much  from 
it  and  would  have  treasured  it 
as  she  did  every  smallest  clip- 
ping that  bore  my  name.  But 
as  she  is  not  here  for  me  to 
express  to  her  my  appreciation 
of  her  gentleness  of  spirit,  her 
beautiful  qualities  as  a  mother, 
and  her  unswerving  belief  in 
my  eventual'  success,  I  feel 
that  when  a  certain  gentleman 
finishes  this  he  will  know  that 
1  think  he  is  the  finest  dad  in 
the  world,  to  whom  I  owe  an 
eoual  amount  of  love,  respect, 
and  appreciation. 

THE  END. 


In  a  Pinch 


Such  cloaks  of  concealment  as  these  may  be  crude,  but  they  are  effective 

in  an  emergency. 


Mice  White,  left,  is  not  one 
to  be  daunted  by  unconven- 
tionally, >o  -he  makes  the 
of  being  caughl  in  a 
predicament  that  might  em- 
barrass   a    less    hardy    soul. 


Ona  Mun-oii,   upper   right,  a  newcomer   to  pictures    from 
tage,  uses   a   Hour   barrel  as   a  place   to  coquet    from 
rather  than  to  conceal  dishabille,  but  give  her  time,  giv( 
her  time. 

Ronald   Colman,  above,   found   good   use   for  a   convenient 

barrel    in    that    travesty    on    prison    life    in    '•Condemned" 

when  he  used  this  place  of  concealment  in  hi-  attempted 

escape    from    Devil'-    Island. 

Fran©  away  wil 

clothe-,   and   anticipates    with    dread    the   long   walk   back 
•    .vn    from    the    old    swimminc    hole — unless    a    kind- 
hearted    motorist    rescues    her. 

Laura   Lee,  right,  anothi  contingent    in    Hoi 

-!,    can't  lid    up    I"  ' 

armor  much  lot  litely  turn  out 

the  inevita 


JJ 


^g* 


HE  was  an  artist,  but  he  did  not  know  why.  All 
he  knew  was  that  there  burned  in  him  a  fierce 
desire  to  put  into  form  all  the  patterns  that  rose 
into  bis  consciousness.  He  ached  to  throw  out  of  him- 
self something  that  was  to  him  the  most  important  thing 
in  the  world. 

It  rose  within  him  and  floated  for  a  time,  a  sea  flower, 
washed  upward  from  mysterious  depths,  often  to  sink 
again  and  become  barely  discernible  as  a  pale  shadow 
beneath  the  darkness  of  the  waves. 

But  at  last  it  floated,  clean  and  radiant,  in  the  full 
light  of  that  inner  world  of  his.  and  his  soul  was  in  a 
turmoil  until  he  had  transferred  the  image  to  canvas 
and  thereby  in  a  way  invested  it  with  a  soul  of  its  own. 
Sometimes,  oh,  miracle,  it  vibrated  with  a  life  more  bril- 
liant than  he  had  even  dreamed! 

lie  knew  all  about  the  physical  vibrations  of  light. 
IU-  knew  the  laws  of  harmony.  He  knew  how  to  place 
just  one  little  spot  of  just  the  right  tone  in  just  the  right 
place  to  make  a  good  composition  blaze.  He  could  drag 
degrees  of  light  and  dark  into  a  melody  that  sang,  or 
into  an  explosion  that  thundered. 

But  he  was  ignorant  of  the  hidden  vibrations  of  his 
own  being.  Life  to  him  was  something  external,  mys- 
terious, to  be  captured  now  and  then  in  some  vivid  aspect 
by  the  magical  tools  that  his  hand  wielded.  Nor  did  he 
know  that  the  first  expression  of  that  soul  of  his,  long- 
ing for  form  and  light  and  color  in  all  their  harmonies, 
was  the  very  pattern  of  his  name. 

The  original  measure  of  a  man  is  in  him  at  birth.  It 
is  the  stature  to  wdiich  his  soul  has  grown  through  an 
eternity  of  experience.  The  expression  of  the  particu- 
lar man,  however,  at  some  particular  time,  flows  out  of 
this  original  nature  as  it  becomes  active  through  definite 
vibrations.  The  vibrations  of  an  artist  can  grow  out  of 
many  combinations  of  numbers,  but  this  man's  entire 
combination  was  one  of  the  most  typical  of  the  truly 
great. 

Six,  the  number  of  art,  harmony,  beauty,  and  love, 
was  his  at  birth,  and  he  had  it  twice  more  in  the  totals 
of  two  of  his  names.  It  made  bun  a  handsome  man, 
and  a  beauty-loving  man  to  an  intense  degree. 

In  divinity  he  had  the  great  Number  One.  by  virtue  of 

which  he  could   turn  his  hand  to  almost  anything  and 

succeed.     There  was  no  field  of  artistic  activity  in  which 

he  could  not  have  been  a  master  if  he  chose,  and  he  did 

Se  and  master  many. 

The  wonderful  power  of  all  his  success  was  his  intui- 
tion, indicated  by  Number  Seven,  that  sprang  like  a 
living  fire  from  his  brush.  He  had  it  four  times,  once 
the  total  in  the  material,  and  once  as  a  total  in  each 
of  his  three  names.  When  he  executed  a  portrait  the 
oul  of  the  sitter  looked  from  the  pictured  eyes 
and  hid  in  the  corners  of  the  painted  mouth,  although 
he  always  insisted  that  this  was  due  to  no  mysterious  in- 
ht,  hut  only  to  his  seeing  form  clearly  and  painting 
what  he  saw.  He  did  not  know  the  intensity  of  his  own 
power. 

Five  was  the  complete  digit    for  his  birth  and   name, 


The  Master)? 

In    this    fascinating   department   will   be   found   an 
examples  of   its   influence  on  the  lives  of  the 

B)>  Monica 

Five,  the  number  of  activity,  of  success,  of  wealth,  of 
truth,  and  balance. 

As  a  man,  he  was  a  genius,  a  master  who  dominated 
his  world.  He  was  a  lion  who  roared  defiance  at  his 
enemies,  but  he  was  worshiped  by  his  friends.  Xo  ob- 
stacles could  stop  him,  for  the  eye  of  his  spirit  saw  the 
way,  and  the  understanding  of  his  spirit  showed  him 
how  to  follow  it.  Nor,  with  all  the  positive  letters  in 
his  name,  was  it  possible  for  him  to  be  turned  aside 
from  his  one  great  purpose. 

As  an  artist,  he  dazzled  the  world.  Brilliance  flashed 
from  the  strokes  of  his  brush.  Mere  earthy  pigments 
and  a  little  oil  became  rivers  of  light  from  which  flowed 
the  dazzling  reflections  of  white  satin,  the  light  of  sun 
upon  the  water,  and  the  rosy  glow  of  a  lamp  on  a  girl's 
soft  cheek.  They  became  a  hard  glitter  in  the  eye  of  a 
banker  who  wore  benevolence  as  his  habitual  mask,  and 
they  illuminated  a  little  tremor  of  loneliness  behind  the 
smiling  lips  of  a  young  and  happy  bride. 

When  all  this  outer  expression  palled  upon  him.  after 
many  rich  years,  he  poured  his  soul  into  the  magnificence 
of  spiritual  meanings  and  left  as  his  monument,  in 
mural  paintings  that  are  already  great  classics,  his  superb 
conception  of  the  religions  of  the  world. 

His  name  was  John  Singer  Sargent,  who  was  perhaps 
the  greatest  painter  of  modern  times,  and  all  the  vibra- 
tions of  his  life  were  written  in  the  letters  of  his  name. 

K.  K.,  September  22,  1910. — You  are  certainly  made  to  love 
a  man,  and  you  will  never  amount  to  anything  in  any  other  way, 
but  I  admit  that  it  will  bring  you  a  lot  of  unhappiness,  too. 
You  love  all  kinds  of  music  and  harmony.  But  you  have  never 
in  your  life  been  really  well  and  strong,  have  you,  dear?  You 
were  very  delicate  even  as  a  little  girl  of  less  than  six,  and  since 
then  there  has  been  one  illness  after  another,  even  if  it  was  not 
always  very  severe.  When  you  were  just  about  sixteen  or  seven- 
teen you  got  into  a  lot  of  misery,  and  you  have  not  got  over  the 
effects  of  it  yet.  Before  you  are  twenty-four,  you  will  have  the 
chance  to  marry  a  man  with  whom  you  will  feel  contented,  as 
much  as  your  very  emotional  nature  can  be  content,  and  I  do 
advise  you  very  earnestly  to  marry  him,  because  by  doing  so  you 
will  escape  great  danger  that  lies  in  this  name  between  the  ages 
of  twenty-four  and  twenty-nine.  By  adding  his  name  to  yours 
you  will  skip  that  very  bad  combination  of  numbers,  and  will,  I 
hope,  make  your  name  very,  very  much  stronger  and  more  suc- 
cessful. You  have. one  great  stand-by,  if  you  are  wise  enough  to 
use  it.  and  that  is  your  hunch.  You  feel  things  deeply,  some- 
times to  the  extent  of  almost  knowing  what  is  going  to  happen 
and.  if  you  act  upon  that  feeling,  you  will  be  doing  yourself  a 
great  favor.  And  how  very  pretty  and  perfectly  charming  you 
must  be  ! 

Continued  on  page  91 


61 


& 


>-^ 


. 


of  Your  Name 

explanation    of    the    science    of    numbers.      Besides 
stars,  the  names  of  readers  are  also  analyzed. 


Andrea  Shenston 

What  Janet  Gaynor's  Name  Tells 


and  loveliness  you 
Gaynor!     Ever 


WHAT  a  little  bundle  of  love 
have  always  been,  dear   Janet 
since  you  were  a  tiny  baby 
you  had  only  to  smile  and  every  one 
Wanted,   only   to   weep  and 
those  who  loved  you  felt  they  could 
not  hear  it  until  you  smiled  again. 

A  good  fairy  certainly  watched 
over  your  birth,  not  the  storybook 
fairv  you  loved  when  you  were  a 
little  girl,  hut  the  very  spirit  of 
charm  and  attraction,  who  touched 
your  lips  to  make  them  kissable, 
vour  eves  to  make  them  innocently 
alluring,  your  hair  to  make  it  curl 
over  vour  ears  in  little  tendrils  that 
would  drive  any  lover  mad. 

You  have  the  Number  Six  of 
love,  of  beauty,  of  infinite  attraction. 
not  only  as  a  birth  path,  hut  as  the 
total  in  divinity,  and  again  as  both 
totals  for  the  name  Janet.  How 
could  you  help  being  all  that  the 
fairy  meant  you  to  •  ?  Up  to  the 
present  you  have  carried  nothing  but 
delight  and  harmony  in  your  hands, 
hut  from  now  on  things  are  going  to 
become  a  lot  more  exciting. 

No   one   with    such   number! 
yours  ca-  a  wonderful   gift 

for  music  in  -  m.     Oh.  I  am 

not  judging  by  the  little  - 
sing:   I   refer  to  a  serious  artistic 
gift  that   could  become  very  much 
while.    There  are  many  ways 
of  exj  music,  and  in  you  the 

sense  of  rhythm  is  very  strong.   Von 
should  have  been  lancer,  for 

when   you    whirl    and    float    to    the 
rhythm  of  a  melody  that  beats  more 

strongly  even  in  your  blood  than  to  your  hearing,  you 
are  in  a  delight. 

The  complete   expr<  ir   life   culminate--   in 

Number  One.    You  have  an  .  impersonal  judi- 

cial outlook  that  allows  you  to  take  even  a  personal  in- 


T 


Pholo  by  Autrey 

Do  not  let  a  new-found  temperament  run 
away  with  you,  Janet  Gaynor,  for  you 
are  in  a  period  of  excessive  sensitiveness. 


il'  any  one  could   he    found  to  offer  you  one      uih\ 

discuss  ii  as  dispassionately  as  if  it  had  happened  to  some 

one  else.  You  are  always  eager  to  understand  the  other 
person's  point  of  view,  and  nothing  could  make  you 
hold  a  grudge.  1 1  ever  you  have  had  an  antagonist,  he  or 
she.  on  taking  the  warm,  linn  little  hand  that  you  offered, 
and  looking  into  your  generous  eyes,  has  become  im- 
mediately your  slave. 

This  same  Number  One  gives  you  the  ability  to  take 
up  any  line  of  work  and  do  it  well.  (  )l"  course  you  have 
your  own  particular  talents,  hut  if  you  hake  a  cake  you 
don't  get  mixed  up  in  a  me^s  of  materials.  You  handle 
your  utensils  properly,  and  while  it  may  not  he  a  mas- 
terpiece the  first  time,  it  is  a  good  cake.  If  you  had  to 
work  in  an  office  you  would  get  the  hang  of  it  within 
a  week,  all  by  yourself.  You  feel  in  your  bones  just 
how   things  ought   to  he  done. 

But  you  will  never,  never  put 
forth  quite  enough  effort  to  ac- 
complish all  that  your  talents 
make  possible.  You  are  ambi- 
tious, oh,  yes!  You  are  deter- 
mined, yes,  indeed!  You  go  after 
what  you  want,  I  am  sure  of  it. 
But  do  you  put  forth  that  last 
half  ounce  of  effort  required  to 
win  a  big  struggle  if  some  ob- 
stacle appears?  No.  Enough  is 
enough,  you  feel,  so  why  strive 
lor  more?  You  are  happy  the 
way  things  are.  Yours  is  a 
naturally  easy-going,  contented 
spirit.  You  also  find  infinite  pos- 
sihilities  of  amusement,  inter 
and  activity  within  yourself,  and 
being  alone  now  and  then  is  a 
real  recreation. 

Your  intuition  has  keen  your 
guiding  star  in  every  material 
success  of  your  life.  Even  with- 
out experience  you  sense  reality 
and  shudder  at  anything  that  an 
inner  sense  tells  you  is  a  fake. 
You  will  sometimes  he  tempted 
to  laugh  at  a  strong  hunch  you 
get  and  let  emotional  considi 
tions  override  it,  hut  every  I 
vmi  do  this  you  will  lose.  If 
something  seems  to  hold  hack 
your  hand  or  gives  you  a  suddi  n 
aversion  to  signing  a  contract, 
for  instance,  do  not  sign.  You 
can  always  insisl  on  wait:: 
few  flays,  and  the  few  (lays  will 
show   you    why    you    were    right. 

There  was  an   important  change  in  your  home 
you  were  a  little  girl  of  four  or  live.     Your  family  must 
have  moved  to  quite  a  distance,  or  your  father  went  into 
Conti  ''1 


02 


Dorothy  Mackaill,  above, 
finds  that  balancing  h  1 1 
enormous  Mexican  cart- 
wheel  of  a  hat  is  no  easy 
task,  though  it  docs  protect 
her  face  from  the  un's 
trlare. 


Mona  Raj-,  above,  who 
li  a  S  certainly  grown 
up  since  she  played 
Topsy  in  "Uncle 
Tom's  Cabin,"  doesn't 
really  care  about  what 
the  sun  does  to  her 
face  so  long  as  she 
can    make    you    laugh. 


Raquel  Torres,  left, 
in  the  costume  of  her 
n  itive  Mexico,  wears 
with  becoming  grace 
an  elaborately  i  m  - 
hat  of  the 
country. 


Sheltered 


Our  girls  of  the  screen  conserve  that  school- 
girl  complexion   nowadays. 


A  flaming  bea- 
c o n  on  the 
beach  is  Bessie 
Love,  right, 
with  a  huge  red 
straw  hat  which, 
against  her  yel- 
low hair,  is 
something  that 
no  eye  can  re- 
sist and  which 
successfully  de- 
fies sun  and 
treckles. 


Nancy  Carroll,  be- 
low, wears  and  not 
carries  her  5  u  n  - 
shade,  but  she  has 
freckles  just  the 
same,  so  she  isn't 
so  sheltered,  after 
all. 


J 


They  Faxtf  in 
Luck 


"Duck     Soup."     a     two-reeler.     started 

Laurel    and     Hardy     on    the     road     to 

fortune,   if   not   fame,  after  more   than 

ten  years  of  drifting  around. 

B>>  A.  L.  Wooldridge 

IT  takes  a  heap  o'  livin'  in  a  house  to 
make  it  home,  says  Eddie  Guest.    And 
it  takes  a  heap  o'  flounderin'  around  in 
:rity  for  comedians  to  find  their  roads 
success,  1  might  paraphrase. 
Charlie    Chaplin    was    a    puttering    little 
actor,  wl  feat  was  falling 

of  a  theater  box  on  the  stage,  until  one 
day.  at  the  Mack  Sennett  studio,  h« 
on  a  pair  oi  I  Vrbuckle's  shoes,  some 

rs,  and  a  derby  hat  ami 
:  g  ! "hat  buffoonery  marked  hi- 
Lloyd  in  a  tight- 
fitting  suit  and  a  mustache  played  the  role 
of  Lonesome  Luke  with  mediocre  results. 
until  he  stumbled  upon  the  idea  of  horn- 
rimmed gl  indma's  boy  char- 
acterization.    Then  he  began  making  mil- 

th     Bert    Wheeler 
and     Robert     Wool 

visualized  themselves  as 
footlight  Romeos  when 
they  decided  to  become 
act  ■  every  cast- 

ing director,  after  look- 
theni  over,  formed 
the    opinion    that    their 
faces  were  designed 
laughing  pr.  nly. 

So  they  were  eventually 
labeled  comedians,  but 
they  almost  starved  be- 
fore the  way 

n  Laurel  and  Oli- 
ver   Hardy    underwent 
similar     experieni 
I-aurel  drifted  about  in 
picti  -  more  than 

ten    years  the 

road  opened.  Hardy 
traveled  fourteen  years 
in  virtual  oi 

These  fellows  Laurel 
and  Ilardv 


When  the  picture  pal- 
on  Broadway  an- 
nounce their  feature  at- 
tractions and  add  that 
this  blundering,  wit!' 
team  will  be  seen  in  a 
new  comedy,  evei 
chuc' 

When  the  little  snow-bank' 
ter    on    the    northernmost    Canadian 


Doing  com- 
mon place 
things  in  an 
uncommon 
manner  is 
the  secret 
of  their 
humor. 


i 


Photo  bjr  sux 
Stan    Laurel    and    Oliver    Hardy    have 
scowled  and  whimpered  their  way  into 
the  hearts  of  the  fans. 

plains,  the  one-room  movie  house  in 
the  cotton  belt,  or  the  great  music  halls 
in  London  and  Paris  announce  this 
pair  of  entertainers,  there  is  a  whoop 
for  seats.  Laurel  and  Kardy  pictures 
are  being  shown  over  the  entire  jjlobe, 
and  the  individuals  most  bewildered 
over  their  success  are  the  fellows  who 
make  them. 

"There's  nothing  much  to  them," 
says  Stan  Laurel,  "except  some  little 
cross-section  of  life  such  as  might  be 
experienced  by  any  hopelessly  dumb 
young  man  and  a  lordly,  overbearing 
individual  who  thinks  he's  a  paragon 
of  wit  and  brilliance,  yet  who's  even 
dumber.  You  find  such  teams  every 
place  on  earth." 

Audiences  see  Laurel  and  Hardy  do 
commonplace    things    in    such    an    un- 
common way  that   it  excites  their  ridi- 
cule for  such  denseness.     What  is  ob- 
vious to  every  one  seems  totally  be- 
i-ond  them,  and  people  laugh  uproari- 
ously at  their  predicaments. 
I   spent   an  hour  or  SO  on 
the   I  lal   Roach  lot  with  the 
0    not    long    ago   and    lis- 
tened  to  their  storu  s.   They 
born     comedian>     who 
!  out  a  living  in  pictures 
■  ore  they  hit   it   off  as  a  team,  and  in 
a  period  of  three  years  have  seen  themselves 
from  obscurity,  till   now  their  names  go  up  in 


64 


They  Favtf  in  Luck 


where  moving  pictures 

lardlv    know    what    it    is 


electric  lights  In  every  countrj 

arc  shown.     They  themselves 
all  about. 

In  1910  Stan  Laurel — his  real  name  is  Stanley  Jef- 
eame  to  America  with  Fred  Karno's  London 
Comedians,  the  company  of  which  Charlie  Chaplin  was 
a  member.  At  about  that  time.  Oliver  Hardy  was  living 
a*  slipshod  existence  with  medicine  shows,  tent  per- 
formances, repertory  outfits,  and  fly-by-night  minstrels. 
Laurel  appeared  in  "A  Night  in  a  London  .Music  Hall." 
in  which  Charlie  Chaplin  fust  attracted  attention.  Mis 
role  was  that  of  the  typical  English  comedian,  with  red 
nose,  baggy  trousers,  et  cetera,  lie  did  not  get  much 
further  than  first  base. 

Hardy  came  to  Hollywood  in  1013  and  Laurel  in 
I'M  7.  'Then  began  an  existence,  which  at  present  they 
don't  talk  about.  The  home-town  papers  in  Atlanta, 
Georgia,  where  Hardy  was  horn  and  reared,  did  not 
announce  that  he  had  consented  to  lend  his  talents  to  the 
great  film  family  and  had  taken  up  residence  in  Holly- 
wood. Some  way  or  other,  too,  the  papers  in  Holly- 
wood neglected  to  mention  it.  Papers  are  funny  that 
way*  sometimes.  No  brass  hands  came  to  the  station  to 
meet  either  one:  not  even  a  producer  or  a  director. 

Hardy  decided  to  become  a  villain  in  the  movies.  He 
grew  a  stubby  heard  or  donned  a  hlack  mustache  to 
show  how  had  he  could  be.  Stan  Laurel  began  assur- 
ing the  studios  that  lie  was  good — very,  very  good  as  a 
comedian.  And  he  smiled  that  wistful,  dumb  smile 
which  in  time  was  to  hecome  famous.  He 
did  know  how  to  pantomime,  hecause  he 
had  started  in  England  when  fifteen  years 
of  age  with  a  traveling  company.  He 
drifted  ahout  from  music  hall  to  music  hall, 
offering  songs,  dances,  dramatic  sketches, 
and  pantomime.  He  became  an  adept  at 
drifting.     No  one  detained  him  long. 

Laurel  and  Hardy  both  landed  at  the  Hal 
Roach  studio  about  1025.  playing  whatever 
was  offered.  Hardy  did  the  comic  heavy 
and  Laurel  slapstick  comedy.  The  first  time 
1  ever  heard  of  Laurel  was  when  they  had 
him  out  on  the  desert  in  a 
bear-skin  pretending  to  he  a 
cave  man.     Not  so  good! 

Nevertheless,  both  pitched 
into  study  and  to  work  and 
presently  began 
offering  sugges- 
tions for  come- 
dies. Then  they 
began  writing  a 
hit.  Their  ideas 
seemed  so  good 
that  Mr.  Roach 
adopted  a  few. 
Ih-  gave  them 
more  rein.  Tn 
1(>27  both  were 
doing  two-reel- 
ers.  One  day 
Hardy  spilled  a 
pan  of  hot  grease 
on  his  arm  just 
pre- 
paring to  start 
a  picture,  and 
Laurel  took  his 
place.  A  close 
friendship  en- 
sued. Before 
long  tiny  figured 


"Duck  Soup"  brought 

together    Laurel    and 

Hardy    for    the    first 

time. 

Photo  by  Btai 


out    a   comedy    in    which   they   acted   together.      "Duck 
Sou])."  they  called  it. 

That  two-reeler,  "Duck  Soup,"  made  in  1927,  brought 
together  the  team  of  Laurel  and  Hardy  virtually  by 
accident.  Now  the  whole  world  knows  them  and  laughs 
with  them.  They  earn  more  money  than  they  used  to 
believe  could  he  minted  in  government  mills. 

Both  are  married  and  have  homes  in  Beverly  Llills, 
ahout  thirteen  blocks  apart.  While  they  are  inseparable 
at  the  studio,  they  have  different  circles  of  friends  out- 
side. Mrs.  Laurel  and  Mrs.  Hardy  cross  each  other's 
path  occasionally,  but  they  do  not  go  where  they  will  be 
together  while  the  talent  of  their  respective  husbands  is 
likely  to  he  a  topic  of  conversation. 

"We  never  have  quarreled,"  Laurel  explained  to  me. 
"I  am  just  as  eager  to  be  a  foil  for  Oliver,  when  it  will 
bring  him  a  laugh,  as  I  am  to  get  one  for  myself.  He 
takes  the  same  attitude  toward  me.  In  fact,  we  each 
suggest  sometimes  changing  a  situation  so  that  it  will 
help  the  other  out.  I  threaten  occasionally  to  kick  his 
shins  and  he  turns  his  glowering,  pitying  look  on  me. 
But  it's  in  fun.  I  tell  him  that  some  time,  just  once  at 
least,  I  want  to  lay  him  low  in  some  scene  and  get  away 
with  it.  I  think  that  ever  since  I  said  that  he  has  been 
trying  to  work  out  some  situation  in  which  he  will  be 
"squelched  and  humiliated." 

But  that,  it  seems,  would  he  contrary  to  the  team's 
tradition. 

"Ahout  the  only  make-up  we  use,"  Laurel  continued, 
"is  a  light  touch  of  grease  paint  and  those 
derby  hats.  Otherwise  we  wear  just  ordinary 
clothes.  Hardy  comhs  his  hair  down  over  his 
forehead  as  though  he  had  bangs,  and  mine 
stands  up.  There's  a  little  story  to  that,  too. 
We  made  a  picture  in  which  we  appeared  as 
convicts.  We  shaved  our  heads  bald  as  bil- 
liard balls.  When  my  hair  was  growing  out 
and  got  to  be  an  inch  long,  it  stuck  out  in 
every  direction — wouldn't  stay  down  at  all, 
regardless  of  how  much  I  plastered  it.  Hardy 
laughed  at  my  appearance. 

"  'Leave  it  that  way !'  he  said.  'You  make 
me  laugh  every  time  I  take  a 
look.' 

"Which  was  a  suggestion.  'Why 
not  wash  it  for  each  picture  so  it 
would  still  stand  on  end  ?'  Which 
is  exactly  what  I 
do.  It's  only  when 
I  put  vaseline  on 
it  that  it  will  lie 
down." 

The  team  now 
has  its  office  and 
conference  room 
at  the  studio,  with 
two  or  three  as- 
sistants to  help 
plan  the  pictures. 
When  not  actually 
employed  in  mak- 
ing a  film,  you 
will  see  Laurel  and 
Hardy  strolling 
about  on  the  stu- 
dio lot,  or  taking 
walks  in  search  of 
suggestions  of- 
fered by  real  life. 
They  share  a  com- 
mon eagerness. 
Continued  on  p.  112 


Bo?s  Will  Be  Coy 

Just   why   our   virile    heroes   should    assume    expressions    that 
belong  to  ingenues  is  something  you"ll  have  to  ask  a  psychol- 
ogist   about. 


it  pains  us  more  than  it 
does  Gary  Cooper,  right, 
to  discover  thai  the  self- 
contained  idol  who  makes 
hi^  few  words  count  for 
more  than  the  speech-mak 
ing  of  any  one  else,  alas, 
is  given  to  moments  such 
as  this. 


Phillips  Holmes,  a!  h  said 

to  be  dignified  and  witty,  forgot  both 
long  enough  to  look  as  if  he  would 
accept     a     marshmallow     sundae,     if 
coaxed  long  enough. 

David  Rollins,  below,  has   been  coy 
and    coquettish    in    so    many    photo- 
graphs  that  this   is   no   novelty. 


Stanley  Smith,  center,  is  surely 
"iily  trying  out  one  of  his  three 
expressions  in  a  mirror.  X".  you 
can't  tell  us  that  lie  believes  such 
an  innocuous  come-hither  look 
would  bring  anything  to  him  but 
a  laugh. 


Regis     Toomey,     below,    doesn't 
scorn  the  lipstick  to  enhance  the 
lure    of   dimpled    smile    and    lan- 
guishing eyes. 


^zm 


00 


"Hell's  Angels"  is  at  least  notable  for  the  most  impressive  airplane  scenes  that  have  ever  been  filmed. 

creetv  m.  E>e\?ieur 


The    first   breath   of   autumn   brings    pictures    that    cause    the    critic    to    forgive    the 

summer  its  fatiguing  ones. 


IN  three  years'  accumulation  of  publicity  the  fact  that 
"Hell's 'Angels"   cost  $4,000,000  has  been   stressed 
and   overstressed    until    it    is    only    natural   that    we 
should   expect  a  result  unusual,   if   not  extrava- 
gantly good.     There's  no  use  beating  about  the 
bush :   it   is  a   curious   combination  of   ordinary 
movie  stuff  and  brilliant  photography,  the  latter 
being   employed    in   airplane   and    Zeppelin   shots. 
But  if  you  can  point  to  one  picture  that  has  moved 
you  solely  because  of  airplanes,  then  you  can  be 
sure  of  finding  in  "Hell's  An- 
gels" a  reason  for  the  fortune 
it  cost. 

If,  on  the  other  hand,  you 
judge  a  picture  as  a  whole  and 
demand  situations  and  acting 
that  appeal  to  your  intelli- 
gence, imagination,  and  emo- 
tions you  won't  find  them  in 
this  pretentious  epic  of  the  air. 
You  will,  in  fact,  find  a  thirty- 
cent  story,  with  acting  to 
match,  in  the  welter  of  four 
million   dollars. 

However,  if  patience  is  one 
of  your  virtues,  you  will  per- 
haps   find    some    compensation 
when    the    screen    expands    to 
show    forty   airplanes   in 
maneuvers      of      beauty; 
when    it   opens   to   reveal 
a     Zeppelin     making     its 
majestic      way      through 
cloudy   skies;   and   when 
airplanes    and    Zeppelin 
drop  torpedoes  on  a  mu- 


nitions station.  But  when  the  screen  contracts  to  center 
on  human  beings  involved  in  the  story,  they  are  shown 
to  be  pygmies  and  their  emotions  are  tawdry. 

The  choice  of  James   Hall   and   Ben 
Lyon  as  Oxford  students  is  ludiciwu:>, 
for  two  players  more  steadfast  in  their 
adherence  to   Hollywood  speech  would 
be  impossible  to  find.    Be  that  as  it  may, 
Mr.   Hall  and   Mr.   Lyon  are  brothers, 
the  former  all  noble,  a  believer  in  the 
sanctity  of  womanhood  and  of 
self-sacrifice,  the  other  a  lover 
of  life  and  the  moment.     The 
fiancee  of  Mr.  Hall  yields  to  the 
lure   of    Mr.    Lyon    and,    later, 
Douglas    Gilmore,   though    how 
Jean    Harlow,    who    plays    the 
girl,   could   deceive   so   worldly- 
looking  a  man  as   Mr.   Hall  is 
something    you    must    ask    the 
casting  director.     The  only  way 
out  of  this  supposedly  emotional 
impasse  comes  when   Air.   Hall 
shoots  Mr.  Lyon  to  prevent  the 
latter    from    giving    away    the 
British  plans  and  sacrificing  his 
comrades  to  save  his  own  life, 
Miss    Harlow   presumably 
^       continuing   hex    career   of 
philandering. 

A   handsome  girl.    Miss 
Harlow   has   very   decided 

George  Arliss  contributes  a 
character   study   in   "Old 
English"  rather  than  a  sat- 
isfying picture. 


1  he  Screen   in   Review 


ti7 


mder  expert  direction  and  in  a  more 
credible  characterization.  She  is  indeed  the  most 
interesting  person  in  the  picture,  though  it  is  the 
airplanes,  the  Zeppelin,  and  the  cameraman  who 
arc  the  stars  of  '"Hell's    Angels." 

"Thar   She   Blow-' 

The  successor  to  "The  Sea  of  the  silent 

films  is  "Moby   Dick."     While  it   is  the  same  in 

und  and  speech  rob  it  of  much  that 

admirable  in  the  earlier   version.       The  thrills 

e  greater,  but  the  beauty 

and  -  5,  the  madness  and  terror  of  the  silent 

film  are  missing.     Even  so,  i:  1  enough 

entertainment,  though  why  it  U  not  distinguished 

question  that  only  the  director  can  answer. 

.inly   the    resource-    <^i    the    studio    were    em- 

.1  to  the  fullesl  extent,  but  unfortunately  the 

major  achievement  is  a  whale  larger  and   full< 

than  the  comparatively  tame  amphibian  that 
managed  to  he  terrifying,  nevertheless,  in  the  silent 
incarnation.  However,  .Utah's  first  battle  with 
the  wha\  ting  and  his  second,  in  which  he 

drives  a  harpoon  into  the  monster's  heart,  also  lifts 
the  picture  to  the  realms  of  physical  thrills,  both 
uences  being  capitally  managed. 
It  is  more  than  likely  that  yon  remember  the 
adaptation  of  the  hook  that  served  the  earlier  ver- 
sion, so  it  is  unnecessary  to  detail  the  adventures 
of  the  young  seaman  whose  brother  betrayed  him. 
of  hi-  a  leg  and  his  change  from  a  rollicking 

fellow  to  an  embittered  man.  of  his  ultimate  de- 
struction of  the  whale  and  his  reconciliation  with 
_rl  whose  love  for  him  was  kept  secret  by  his 
ther's  duplicity. 

Mr.  Barrymore's  Ahab  is  satisfactory  and  prob- 
ably he  enjoyed  the  adventure  of  playing  the  role 

hut  it  is  neither  as  richly  colored  nor  as  eloquent 
his  skill  as  his   first  venture  was.      Lloyd 
-  the  treacherous  brother  and  he  too  is  adequate, 
from  the  part  in 
omitting     Altab's    devotion     and 
complete  trust  in  him.   Joan  Ben- 
ntirely  pleasing  as  Faith. 
the   heroine,    one    of    those    rare 
n    nowhere    but    on   the 
en,    who    remains    untouched 
oy  time  while  other  char- 
acter- ie      gnarled 
and  old.     Bin  life  must 
Ice  that  in  film-. 

The  Facets  of  a  Diamond. 

If  anything,  "Raffl 
exceed-  "Bulldog  Drum- 
mond"    in   the  brand   of 
entertainment    made    fa- 
mous by  Ronald  Colman 
in  the  earlier  picture.     It 
is  gay.  ironic,  intelligent, 
are 
. eaken  the 
tudy  melo- 
drama.   There  arc  subtleties 
like  them  and 
forthright     dramatics      for 
•ant    "punch." 
is  that  un- 
quality  of  intelli 
that  makes  all  the  charac- 
human  who 

think  and  ac; 


John  Barrymore  and  Joan  Bennett,  in  "Moby  Dick,"  bring 
Sea  Beast"  to  the  screen  in  audible  form. 


•The 


Ronald  Col- 
man, in  "Raf- 
fles," surpass- 
es the  enter- 
tainment of 
"Bulldog 
Drummond." 


ours  would  in  the  same  circumstances.     And  as  we  like 
to  think   we   ourselves    would,    if   we   were    Ronald    Col 
man.  Kay  Francis,  David  Torrence,  and  the  rest. 

If  you  remember  Raffles  on  the  stage  years 
ago — which    you    don't — or    on    the    screen    in 
silence — which   you   probably   may — you   won't 
need  to  be  told  that  he  is  the  gentleman  crook 
who  started   the  vogue    for  drawing-room  de- 
portment with  an  eye  to  the  pearls.     Here  he 
decide-    to    r<  form    because    he    has    fallen    in 
love,   hut   agrees   to   commit    one   last   theft   to 
oblige  a  friend.       It   is  in  the  commission  of  this  test 
of  his   remarkable   -kill   in   evading  the  law   that   the 
thrills    come    about.      Of    course    he    emerges    trium- 
phantly, his  high-born  love  hazarding  all  to  follow  him 
beyond  the  reach  of   Scotland   Yard,  and.  to 
whitewash  Raffles  completely,  the  stolen  pearls 
are  returned  to  Lord  Melrose. 

In  hand-  less  capable  than  those 
which  fabricated  this  exceptional 
picture  the  result  would  be  dis- 
mal and  old-fashioned. 
But  as  it  stands,  there  isn't 
any  current  film  sr>  civi- 
lized,  so  far  removed  from 
the  moviesque.  There  isn't 
anything  new  to  say  of  Mr. 
Column's  suavity,  charm, 
and  easy  spontai 

too  much  e\  er  b< 
of  hi  of  humor,  but 

it   i- 

veals  the  surpri 
formance.  AIw; 
estin 


68 


The  Screen  in  ReVievtf 


"Anybody's  Woman." 


is  sympathetic,  charming,  delicate.  The  admirable  dialogue  pro- 
vided by  Sidney  Howard,  the  playwright,  enables  her  to  show  how 
the  modern  girl  reacts  to  finding  herself  in  love  with  a  thief.  There 
are  none  of  the  tremors  of  sentimentality  of  a  bygone  day,  but  a 
brave  facing  of  facts  that  is  far  more  romantic.  Mr.  Torrence 
is  thoroughly  engaging  as  Inspector  McKenzie,  the  detective,  and 
Frederick  Kerr,  who  was  conspicuous  in  "The  Lady  of  Scandal," 
is  his  crotchety  sell  as  Lord  Melrose,  while  Miss  Alison  Skipworth, 
veteran  of  the  Broadway  stage,  demonstrates  to  fans  on  what  her 
reputation  is  built,  as  Lady  Melrose.  There's  nothing  lacking  from 
the  perfection  of  "Raffles." 

A  Grand  Old  Sinner. 

George  Arliss,  in  "Old  English,"  offers  a  character  study  rather 
than  a  play  of  plot,  suspense,  and  climax.  As  a  character  Sylvanus 
Hcythorp,  nicknamed  "Old  English"  is  interesting,  because  he  is 
depicted  with  surpassing  skill,  but  it  is  deplored  that  he  is  not  the 
central  figure  in  real  play  instead  of  a  monologue.  For  the  general 
public — of  which  I  am  typical — is  not  really  interested  in  eighty- 
year-old  men  as  heroes.  It  is  true  there  are  other  characters  in 
"Old  English,"  but  they  are  purely  incidental.  It  is  Mr.  Arliss 
who  does  most  of  the  talking  and  acting. 

Sylvanus  Hcythorp  is  a  relic  of  the  Victorian  age — a  business 
man,  a  director  on  the  board  of  corporations,  who  lives  with  his 
elderly  daughter  and  is  henpecked  by  her.  But  when  she  isn't  look- 
ing he  visits  Mrs.  Lome  and  her  boy  and  girl,  who  are  his  illegiti- 
mate grandchildren  and— but  there  isn't  any  more  story  to  tell. 
Various  incidents  throw  into  high  relief  Heythorp's  slyness,  his 
determination  to  hold  onto  what  he  has  got,  and  eventually,  against 
the  mannerly  protestations  of  his  butler,  he  eats  and  drinks  himself 
to  death  in  senile  rebellion.  No,  it  isn't  a  play,  but  it  is  interesting 
because  of  the  intelligence  of  the  dialogue  and  the  sureness  with 
which  it  reveals  character,  not  only  that  of  Hcythorp,  but  of  every 
one  in  the  picture.  A  triumph  for  the  art  of  Mr.  Arliss,  it  is  a 
hollow  triumph,  because  those  who  derive  little  entertainment  from 
"Old  English"  may  stay  away  from  future  pictures  of  his. 

Refinement  and  intelligence  are  found  in  the  entire  cast,  mostly 
recruited  from  the  stage  version.  They  include  Murray  Kinnell, 
Doris  Lloyd,  Betty  Lawford,  Henrietta  Goodwin,  Ethel  Griffies, 
and  Joan  Maclean. 


Do  you  get  a  thrill  from  these  names? 


"Grumpy." 


The  Greater  Garbo. 

Hollywood's  favorite  adjective  "marvelous"  is  the  word  that 
first  comes  to  mind  on  viewing  Greta  Garbo,  in  "Romance."  Her 
performance  is  a  thing  of  pure  beauty,  an  inspiriting  blend  of  intel- 
lect and  emotion,  a  tender,  poignant,  poetic  portrait  of  a  woman 
who  thrusts  love  from  her  because  she  considers  herself  unworthy 
of  the  man  who  offers  it.  Since  no  mention  of  Miss  Garbo  can  be 
made  without  reference  to  her  voice,  it  is  a  simple  matter  to  dispose 
of  it  at  the  outset.  It  is  the  same  voice  that  was  heard  in  "Anna 
Christie,"  but  it  is  better  suited  to  the  present  role,  because  the 
character  has  many  moods  and  none  of  the  bitterness  of  Anna. 
Rita  Cavallini,  the  Italian  prima  donna,  is  mecurial,  bantering, 
tender,  wistful.  "\\ "hat  matter  if  Garbo's  accent  only  occasionally 
suggests  the  Italian's  effort  to  speak  English?  The  Garbo  voice 
itself  is  not  of  Italian  quality  or  inflection,  but  for  all  any  one  cares 
Rita  Cavallini  might  as  well  be  Portuguese  or  Roumanian,  for  it  is 
her  emotions  that  are  conveyed  by  Garbo  to  the  spectator,  and  her 
nativity  counts  for  nothing  at  all. 

What  matter,  too.  if  the  picture  as  a  whole  is  slow,  even  draggy, 
and  lacks  climaxes?  It  is  nevertheless  absorbing  because  of  Garbo 
— her  inescapable  magnetism,  her  sure  intelligence,  her  clear,  un- 
flagging talent  for  communicating  to  the  spectator  her  every  thought 
and  feeling. 

Almost  every  one  knows  the  story  of  "Romance"— rthe  .opera 
singer  with  old  New  York  at  her  feet,  her  meeting  with  the  young 
clergyman,  protege  of  the  man  whose  mistress  she  is,  and  her 
Struggle  against  her  new-found  love  and  her  disillusionment  of  the 
minister  as  a  means  of  safeguarding  his  career. 

Lewis   Stone   is   capital,   as   usual,   as   her   protector,   and    Gavin 

Gordon,  a  newcomer,  serves  well  enough  the  purpose  of  the  unin- 

ting  hero.    Florence  Lake  is  delightful  as  a  belle  of  the  period. 


The    Screen  in  ReViev? 


69 


Everybody's  Star. 

It  any  star  could  have  equaled  Ruth  Chatterton's  performance 
in  "Anybody's  Woman."  let  her  tans  speak  up  or  forever  hold  their 
Mi-^  Chatterton  is  the  nt  fins  ultra  of  actresses  and 
more  reminds  us  that  she  is  the  most  compelling  of  all  the 
[arers  from  I  .    And  as  it  the  gods  were  in  happy  con- 

spiracy, not  only  ven  roles  that  enable  her  to  give  full  vent 

to  her  artistry,  but  she  is  provided  with  capital  support  in  pictures 
that  are  almost  invariably  superior. 

Her  new  film  ilem  this  with  resounding  emphasis,  For 

,:r  could  a>k  for  more  to  enhance  her  own  brilliance  than  the 

performances  oi  dive  Brook,  Paul  Lukas,  and  Juliette  Compton. 

How  different   from  the  old  order  of  things  on  the  stage,  when 

it  artist  was  more  than  likely  to  be  surrounded  by  mediocrities  ! 

Miss  Chatterton  plays  a  chorus  girl  in  a  burlesque   show   who 

marries  a  lawyer  while  he  is  drunk,  only  to  find  that   he  has  no 

pledge  oi  the  ceremony  which  united  him  to  a  woman  at  whom 

when  sober.     But  he  is  too  much  of  a  gentleman 

pudiate  her.  so  the  remainder  i^i  the  picture  is  given  over  to 

mutual  adjustment    The  wife  proves  herself  superior  to  his  friends 

and  instead  oi  dragging  him  down,  lifts  him  up.     Of  course  they 

are  in  love  by  this  time. 

Trite  in  the  telling  and  incredible  too.  the  narrative  as  S<  en  on  the 
screen  is  intensely  interesting.  It  is  neither  abrupt  nor  superficial. 
but  depicts  convincingly  that  most  absorbing  of  all  things,  character 
development.     There  are  E  acute,  revealing  touches  in  dia- 

and  acting,  and  Miss  Chatterton's  speech — or  rather  accent — 
is  fla  •  true  to  the  woman  she  portrays.     It  is   fascinating  to 

date  on  what  character  she  could  not  play  surpassingly. 

Man's  Perfidy. 

In  some  theaters  where  it  was  hooked  for  a  week  "Common  Clay" 

remained    four.      Sufficient    proof   that    it    is   agreeable   to   the 

rity,  though  I  like  to  think  there  exists  some  one  somewhere 

who  sees  it  as   I  do — an   artificial,  teary   relic  of  the  stage  as   it 

J    in   the   hoary   year    1916,    with    strong   dramatic   climaxes 

motivated  by  claptrap. 

Here  we  have  a  girl  who  forsakes  the  speakeasies  because  she 
wants  to  go  straight,  so  she  becomes  a  maid  in  the  household  of 
ratably   "nice"   ]  nly   to   find   that   they   can   cause   her 

more  anguish  than  her  own  kind.  For  she  listens  to  the  love- 
making  of  the  son  of  the  household  and  presently  finds  herself  an 
unmarried  mother.  But  she  is  not  one  to  languish  with  the  brand 
of  the  scarlet  letter.  She  consults  a  lawyer  and  there  is  a  court- 
room scene  in  which  she  denounces  her  lover  and  his  father.  Her 
supposed  mother  on  the  witness  stand  reveals  that  the  girl  is  not 
her  own.  but  is  the  long-lost  daughter  of  her  chief  persecutor,  the 
rich  family's  lawyer.  In  the  end  she  is  reconciled  with  the  father 
of  her.  child  who  rather  tardily  decides  to  do  right  by  her.  How  a 
peaceful  married  life  can  come  from  all  this  is  for  you  to  figure  out. 

There  is  no  doubt  that  the  melodramatic  denunciation  in  the 
courtroom  is  effective,  together  with  the  lachrymose  revelations  of 
the  heroine's  foster  mother,  but  the  long  speeches  of  the  various 
characters,  who  seem  to  he  waiting  their  turn  to  set  off  their  pet 
fireworks,  are  just  so  much  bom' 

.stance  Bennett  is  thought  by  many  to  plendid  per- 

formance— to  carry  the  film  to  triumph,  in   fact.     That   I  do  not 
share  this  opinion  is  unimportant  in  view  of  the  general  acclaim. 
Bennett  offers  a  girl  wl  lligent  and  determined  not  to 

suffer  in  silence.  :  ems  hardly  the  .ho  would  he  led 

astray  by  the  blandishments  of  a  boy  home  from  college.  Lewis 
Ayres  in  this  ungrateful  role  is  conventional  and  Beryl  Mercer. 
fine  artist  that  she  i>.  failed  to  move  me  in  her  calculated  pathos 
on  the  w  nd.     Yet  I  dare  say  mine  were  the  only  dry 

in  the  theater  where  "Common  Clay"  remained  four  weeks  in- 
stead of  one. 

A  Good  Bad  Man. 
»d    Intentio:  r    and    worth    seeing.      Though    it    i^ 

another  crook  melodrama,  it  is  told  with  such  brightness  and 
originality  that  it  acquir<  a   liveliness,  that   make   it 

n   page    100 


'Rain  or   Shine." 


70 


.^ISSteStt 


A  Confidential   Guide  to   Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 

"Dawn  Patrol,  The" — First  National. 
War  story  without  love  interest  gives 
Richard  Barthelmess,  Neil  Hamilton, 
and  Douglas  Fairbanks,  Jr.,  opportuni- 
ties capitally  exploited.  Life  among 
Royal  Flying  Corps,  showing  hideous 
actualities  of  war.  Barthelmcss's  best 
in  years. 

"Big  House,  The" — Metro-Goldwyn. 
Savage  picture  of  life  behind  prison 
walls,  finely  wrought  drama  depending 
upon  character  rather  than  studied  plot. 
Wallace  Beery,  sly,  hardened  criminal; 
Chester  Morris,  slick  forger;  Robert 
Montgomery,  new  convict.  Revolt  of 
prisoners   stirring  scene. 

"Holiday"— Pathe.  Well-known  play, 
with  good  cast.  Poor  rich  girl  mopes 
over  having  too  much  money,  finally 
wakes  up  and  escapes  from  her  Park 
Avenue  "prison."  Ann  Harding,  Mary 
Astor,  Robert  Ames  good.  Monroe 
Owsley  outstanding;  Edward  F.verett 
Horton,  Hcdda  Hopper. 

"Unholy  Three,  The"— Metro-Goldwyn. 
More  honors  for  Lon  Chaney,  who 
makes  his  talkie  debut  in  a  difficult  role. 
New  version  of  outstanding  film  has 
lighter  touch  because  of  dialogue.  Harry 
Earles,  Ivan  Linow,  Lila  Lee,  Elliott 
Nugent    excellent   support. 

"Caught  Short"— Metro-Goldwyn.  Ma- 
rie Dressier  and  Polly  Moran  as  rival 
boarding-house  keepers.  One  makes  a 
haul  on  Wall  Street  and  goes  hay- 
wire. A  son  of  one  loves  the  daughter 
of  the  other.  Enough  said.  Excellent 
support  from  Anita  Page,  Charles  Mor- 
ton,  T.   Roy   Barnes,   Herbert    Prior. 

"Social  Lion,  The"— Paramount.  Jack 
Oakie's  debut  as  star,  in  story  of  con- 
ceited youth  given  country-club  mem- 
bership as  joke,  and  he  goes  haywire. 
Situations  funny,  players  make  most  of 
humor.  Mary  Brian,  Richard  Galla- 
gher, Olive  Borden  contribute  gener- 
ously. 

"All  Quiet  on  the  Western  Front" — 
Universal.  Faithful  screening  of  the 
most  realistic  novel  of  World  War,  with 
no  happy  ending  or  girl  appeal.  Strong- 
est film  document  against  war.  Lewis 
Ayres,  Louis  Wolheim,  "Slim"  Summer- 
ville,  Russell  Glcason,  Wrilliam  Bake- 
well,  John  Wray  outstanding  in  big  cast. 

"King  of  Jazz,  The"— Universal.  All 
Technicolor.  Spectacular  revue,  with  in- 
timate touch,  starring  Paul  Whiteman, 
with  not  quite  enough  of  him.  John 
Boles,  Jeanette  Loflf,  Laura  La  Plante, 
Glenn  Tryon,  Merna  Kennedy.  Many 
more  seen  flittingly. 

"Devil's  Holiday,  The" — Paramount. 
Human,  sympathetic  characterization  by 
Nancy  Carroll,  every  inch  the  star. 
Manicurist  out  West  sells  farm  machin- 
ery to  customers,  and  finally  marries 
son  of  big  wheat  man,  and  complica- 
tions sit  in.  Nice  old  hokum.  Phillips 
Holmes.  Ned  Sparks,  Ilobart  Bosworth, 
James   Kirkwood. 

"Free     and     Easy" — Metro-Goldwyn. 

comedy   at    its   best,   with    Buster 


Keaton  escorting  a  beauty-contest  win- 
ner, Anita  Page,  to  Hollywood.  Old 
idea  with  new  treatment,  with  glimpses 
of  many  screen  notables  at  the  studios. 

"Song  o'  My  Heart"— Fox.  John 
McCormack  central  figure  in  gentle 
Irish  story,  with  eleven  songs  beauti- 
fully recorded.  Finely  directed,  excel- 
lently acted,  w'ith  new  ingenue,  Maureen 
O'Sullivai.,  and  Tommy  Clifford,  both 
from  Ireland.  John  Garrick,  J.  M.  Ker- 
rigan, Alice  Joyce. 

"Sarah  and  Son" — Paramount.  Ruth 
Chatterton  at  her  best  as  poor  German 
girl  who  rises  to  the  top  as  prima  donna, 
in  touching  mother-love  story.  Diffi- 
cult characterization  perfectly  done. 
Philippe  de  Lacy,  Fredric  March,  Gil- 
bert Emery,  Doris  Lloyd,  William 
Stack. 

"Men  Without  Women" — Fox.  In- 
tensely human  picture  of  men  trapped 
undersea.  Fine  characterization,  action 
motivated  by  invisible  heroine.  Ken- 
neth MacKenna,  Frank  Albertson,  as 
torpedoman  and  ensign,  are  striking. 
Paul  Page,  Stuart  Erwin,  Warren  Hy- 
mer,    Farrell    MacDonald. 

__  "Seven  Days'  Leave" — Paramount. 
Exceptional  film,  lacking  boy-and-girl 
love  element,  with  honors  to  Beryl  Mer- 
cer and  Gary  Cooper.  Charwoman  "in- 
vents" soldier  son,  and,  to  humor  her, 
a  real  soldier  has  her  to  adopt  him. 
Simple,    touching. 

"Vagabond  King,  The"— Paramount. 
All  Technicolor.  Beautifully  filmed,  far 
above  the  "Oh,  yeah?"  and  tootsie 
theme-song  musical  films.  Story  of 
Villon,  the  French  poet,  and  Louis  XI 
— Dennis  King  and  O.  P.  Heggie  re- 
spectively, both  excellent.  Warner 
Oland  and  Lillian  Roth  fine.  Jeanette 
MacDonald  pastel  leading  lady. 

"Rogue  Song,  The" — Metro-Goldwyn. 
Song,  dialogue,  all  Technicolor.  Law- 
rence Tibbett's  debut  on  the  screen  is 
high  mark  of  musical  films.  Magnifi- 
cent voice,  vigorous  personality  make 
up  for  weak  story,  made  weaker  by  de- 
tached horseplay.  The  bandit  kidnaps 
the  princess.  Catherine  Dale  Owen, 
Florence  Lake. 

"Anna  Christie"  —  Metro-Goldwyn. 
Greta  Garbo's  first  talkie  reveals  an  un- 
usually deep  voice.  Heroic  effort  in 
role  demanding  the  best  in  speech. 
Ruthlessly  frank  story  of  streetwalker 
is  unlike  her  former  ones.  Charles 
Bickford,  George  Marion,  Marie  Dress- 
ier. 

"Welcome  Danger" — Paramount. 
Part  dialogue.  Harold  Lloyd  makes 
you  laugh  all  through,  with  time  out 
only  for  breathing — and  some  speech  by 
Mr.  Lloyd.  His  voice  suitable.  Harold 
runs  down  a  Chinese  villain  in  his  own 
way.  Barbara  Kent  naively  charming. 
Noah  Young  funny  as  policeman. 

"Dynamite"  —  Metro-Goldwyn.  All 
dialogue.  Cecil  DcMille's  first  experi- 
ment in  talkies  brilliantly  effective. 
Movicsque  plot,  embellished  with  fine 
acting   and   photography   and   intelligent 


dialogue,  becomes  convincing,  even  if 
about  coal  miner  and  society  woman. 
Kay  Johnson's  debut  perfect.  Charles 
Bickford,  Julia  Faye,  Conrad  Nagel, 
Muriel   McCormac,    Leslie   Fenton. 

FOR  SECOND  CHOICE. 
"Man  From  Wyoming,  A" — Para- 
mount. War  film  in  which  captain  mar- 
ries nurse,  is  reported  killed,  returns  to 
find  gay  party  at  home,  and  he  turns 
away — but  there's  a  proper  ending. 
Gary  Cooper  better  than  ever;  June 
Collyer  triumphs.  Regis  Toomey  and 
E.  H.  Calvert. 

"Let  Us  Be  Gay" — Metro-Goldwyn. 
Dowdy  wife  lets  husband  drift,  turns 
tables  by  becoming  social  bird  of  para- 
dise, reduces  her  man  to  dust,  and  takes 
him  back — favorite  cigarette  dream  of 
losing  wives.  Norma  Shearer  a  hit. 
Marie  Dressier,  Gilbert  Emery,  Hedda 
Hopper,  Raymond  Hackett. 

"Wild  Company" — Fox.  Frank  Al- 
bertson excellent  in  role  requiring  vari- 
ety of  moods,  proving  him  one  of  the 
best  of  juveniles.  Story  of  father  who 
gives  son  money  instead  of  guidance. 
H.  B.  Warner  the  father,  Claire  Mc- 
Dowell the  mother.  Kenneth  Thomson, 
Sharon  Lynn,  Joyce  Compton. 

"Lawful  Larceny"— RKO.  Wife  re- 
captures her  husband  from  toils  of  ad- 
venturess and  takes  her  money  besides, 
in  film  providing  capital  dramatic  act- 
ing for  Bebe  Daniels.  Lowell  Sherman 
leading  man  and  director.  Olive  Tel), 
Kenneth  Thomson,  Purnell  Pratt, 
Helene  Millard. 

"For  the  Defense" — Paramount.  An- 
other fine  performance  by  William  Pow- 
ell in  film  that  has  moments  of  inspira- 
tion. Lawyer  bribes  juror  in  effort  to 
save  man  he  hates  for  woman  he  loves, 
and  his  plans  crumble.  Kay  Francis 
the  girl,  who  promises  to  wait  until 
Powell   returns  from  prison. 

"She's  My  Weakness"— RKO.  Light 
yarn  about  puppy  love  and  suitor  who 
overlooks  girl  in  selling  himself  to  her 
parents.  Pleasure  to  hear  William  Col- 
lier. Arthur  Lake  is  boy  won  by  Sue 
Carol's  pouting  prettiness.  Helen  Ware 
and  Lucien  Littlefield  the  fussy  parents. 

"Safety  in  Numbers"  —  Paramount. 
Buddy  Rogers  lives  with  three  chorus 
girls  and  remains  pure  and  innocent, 
even  though  the  girls'  conversations 
could  not  be  printed.  Even  so  he  does 
right  by  little  Nell  and  marries  the  coy- 
est. Carol  Lombard,  Kathryn  Craw- 
ford,  Josephine    Dunn. 

"So  This  Is  London" — Fox.  Amus- 
ing caricatures  of  the  Englishman  and 
American,  as  imagined  by  ignorant  on 
opposite  shores.  Love  affair  brings 
families  together,  enmity  of  fathers  sep- 
arate them  for  a  while.  Will  Rogers 
irresistible.  Lumsden  Hare  leaves  noth- 
ing undone.  Maureen  O' Sullivan  sweetly 
real;   Frank  Albertson,  Irene  Rich. 

Continued  on  page  118 


71 


It  s  Easy  to 
Forget 

And  that*!  exactly  what 
Hollywood  has  done,  for 
the  son  of  Harold  Lock- 
wood,  once  a  great  star. 
goes  from  studio  to  studio 
looking    for    a    day's    work. 

By  Romney  Scott 

STUYVESAN  r  FISH  dies 
and  leaves  an  estate  equal 
aim  s(  the     national 

debt.  William  llarriman  dies 
and  leav  thirty 

million  dollars.  Their  children 
may  not  inherit  their  fathers' 
abilities,  but  they  do  inherit 
their  money.  And  even  though 
you  may  never  again  hear  the 

•.nan. 

know  that  their  offspring 

are  living  in  peace  and  plenty. 

Well,  maybe  not  in  peace,  but 

certainly  in  plenty. 

But  those  men  figured  in  the 
land  of  commerce.     It  doesn't 
always  work  out  that  way  in 
the  land  of  make-believe. 
In    1918  Harold   Lock, 
the     bi  individual 

drawing  card  in  pictures.  His 
ving  had  reached  un- 
heard-of numbers.  His  salary 
had  assumed  such  proportions 
that   it  was   impossible   to   r 

-  pictures  on  the  regu- 
lar program.     He  signed  a  new  contract  with  the  old 
Metro  company  at  an  almost    fabulous   figure,   and  his 
features  were  to  be  released  as  super-specials. 

Then,  abruptly  in  October  of  1018.  the  newspapers 
blazoned  forth  the  announcement  that  Harold  Lockwood 
was  dead.     In  making  a  f  Liberty  Loan  speeches 

eminent  he  had  contracted  a  cold.     His  phy- 
sicians ordered  him  to  bed.  but  he  felt  morally  obligated 
n  with  the  tour  mapped  out  for  him.     His  cold 
and  suddenly  turned  into  pneumonia.     A  few 
-  later  he  was  dead. 
When  his  will  was  probated  and  his  affairs  wound  up 
discovered  that  his  estate  consisted  of  only  a  few 
thousand  dollars.     The  money  had  com  sily  there 

'.  been  no  need   I  any.      He   would   have 

•d  for  at  least  another  five  or  ten  years  on  the  screen 
and  at  a  constantly  ii  salary.    Time  enough  to 

later.     Life  had  been  one  grand  adventure 
But  it  ha<n't  turned  out  to  be  a  grand  adventure  for 
the  wife  and  son  he  left  behind.     At  the  time  his  father 
died  Harold.  Jr..  was  ten  years  old.     He  and  his  mother 
had  to  live  on  those  I  ds  and  his  schooling  had 

ken  care  of. 
While  ■  tuddy  I\ 

Numbers"  I  noticed  in 


Harold  Lockwood,  Jr.,  knows  better  than  any  one   in  Hollywood  the  emptiness  of 

a  once-great  name. 

features  were  vaguely  familiar.  He  was  a  grave  young 
fellow  who  seldom  smiled.  When  the  scene  was  finished 
the  company  broke  up  into  little  groups,  laughing  and 
chatting.     But  this  boy  sat  more  or  less  by  himself. 

Another  time  I  visited  Dick  Barthelmess  on  the  set  of 
"The  Dawn  Patrol,"  and  this  hoy  appeared  briefly  as 
one  of  the  junior  flying  officers. 

Those  same  vaguely  familiar  features.  1  couldn't  place 
him.  So  1  went  up  and  introduced  myself.  lie  was 
Harold  Lockwood,  Jr. 

"It's  been  pretty  tough  sledding  at  times."  he  grinned, 
"but  mother  and  I  have  held  on  somehow.  She's  become 
an  expert  make-Up  woman  and  works  pretty  much  all  the 
time.     And  I  work  a  lot  out  here  and  for  Paramount." 

"But  what  about  Metro-Goldwyn T*  T  asked.  "I  should 
think  they'd  give  you  work." 

"Oh,  I  went  out  to  see  Mr.  Mayer  once.  1 1<  was 
fond  of  dad.  He  was  awfully  nice  to  me  and  called  Up 
-ting  director  while  I  was  there,  and  told  him  to 
see  that  I  got  work.  But  nothing  ever  came  of  it.  and  I 
didn't  want  to  make  a  nuisance  of  myself,  so  I  didn'l 
go  hack  to  him  again.  You  sic."  he  added  gamely, 
any  new  people  an-  coming  up  all  the  time  tin  • 
can't  remember  the  old  \nd  besid 

"I'd  like  to  make  good  on  my  own." 


TKose  Foreign 

Fans    across    the    seas    are    here    given    glimpses    of 

pictures   that  speak 


Jetta  Goudal,  below,  speaks  French  as  Lady 
Efra,   in   "Le   Spectre   Vert,"   the   rule  that 

Dorothy    Sebastian    made    so    interesting    in 
"The    Green    Ghost." 


Harry  Norton,  abuse,  whose  linguistic  abil- 
ity has  given  his  interrupted  career  new  im- 
petus, plays  Adolph  Mahler,  in  the  Spanish 
version  of  "The  Benson  Murder  Case."  a 
rule  created  in  English  by  Paul  Lukas,  a 
Hungarian.  Yes,  Hollywood  is  multilingual 
all  right. 


Andre  Luguet,  below,  enormously  popular  in 

France,   speaks   his   native   language   in   "Le 

Spectre  Vert,"  the  French  version  of   "The 

Green  Ghost." 


"()nr  Glorious  Night"  evidently  has  great  appeal  for  foreign  audiences,  because 
it  has  been  filmed  in  both  Spanish  and  German  with  the  title  of  the  original 

play,  "Olympia." 

Theo    Shall,    above,    and    Xora    Gregor    play    the    roles    that    caused    such    an 
upheaval  in  the  careers  of  John  Gilbert  and  Catherine  Dale  Owen. 


73 


V 


ersions 


players  who  will  soon  be  seen  by   them   in 
their  own   language. 


Antonio    Moreno,    below,    finds    his    native 
.    for   it   gives  him   the   star 
role  in  "El  Hombre  Malo    glased  in  Eng- 
lish by  Walter  Huston,  in  "The   Bad   Man.' 


Their  ability  to  speak  Spanish  brings  new 
opportunities  to  such  American  favorites  as 
Raquel  Torres  and  Don  Alvarado,  above, 
who  play  the  hero  and  heroine  in  "Estrella- 
dos,"  which  is  the  name  Buster  Keaton's 
"Free  and  Easy"  lias  in  the  Latin  countries 


Delia  Magana,  below,  who  found  scant 
opportunities  m  silent  pictures,  shows  how 
much  we  missed  when  she  speaks  Spanish 
in  "F.l  Hombre  Malo,"  her  role  being 
played  by  Marion  Byron  in  English. 


right"  in  Spai  jbt  i-  a  much  more  intense  affair  than 

-  the  hero  and  heroine  are  played  by  native  favorite 
-)  and  Maria  Alba,  above,  who  have  al-o  appeared  in  silent  films. 


74 


Will  Marlene  Top  Greta? 

Fraulein  Dietrich  comes  from  Berlin  with  beauty,   magnetism,  distinction,  and  experience,  and  Holly- 
wood is  rife  with  rumors  of  the  great  Garbo's  eclipse.     Read  this  article  and  make  your  own  prediction. 

By  Margaret  Reid 


I  SUPPOSE  you  would  say,  you  naive  little  thing 
yon,  that  tor  a  really  good  rousing  article  an  actress 
fresh  from  European  conquests  would  be  so  much 
caviar  for  even  the  most  recalcitrant  typewriter.  Think 
of  the  color,  the  glamour,  the  allure  of  a  Marlene 
Dietrich.  All  right,  you  think  of  it.  And  then  for  your 
red-hot  story  about  sex  appeal  in  a  foreign  accent,  make 
an  appointment  with  some  Minnesota  lady  of  the  screen. 
Home-grown  stars  make  hetter  stories,  because  they 
don't  balk  at  improving  on  history  here  and  there.  If 
they  don't  make  good  stories  an  naturel,  then  they  make 
them  up.  Which  may  he  an  offense  in  the  sight  of  God, 
hut  is  a  help  to  the  poor  in- 
terviewer. .,  ■ 

Now  take  Marlene  Dietrich. 
i  Cries  of  "With  pleasure!") 
Marlene  is  a  foreign  actress, 
darling  of  Berlin's  musical- 
comedy  stage  and  recently  of 
Ufa  pictures.  She  was  im- 
ported, with  considerable  cere- 
mony, by  Paramount  as  their 
topper  for  Metro's  Garbo.  She 
is  beautiful,  magnetic,  dashing 
— with  a  suggestion  of  Greta 
G.  in  her  somnolent  eyes  and 
an  impression  of  electric  vital- 
ity under  her  composed  ex- 
terior. 

All  of  which'  promises  copy 
of  a  torrid  quality.  That's 
what  you  say.     But  listen. 

"They  tell  me  T  shouldn't 
let  any  one  know  T  have  a 
baby.  They  say  it  isn't  ro- 
mantic. But  I  don't  under- 
stand. To  me.  having  a  baby 
is  the  most  romantic  thing  in 
the  world.     Here — see  her." 

From  her  hag  she  extracted 
a  vanity  case  in  which  were 
set  two  pictures  of  a  young 
lady  of  four,  with  yellow  curls 
and  an  amiable  smile. 

"She  is  beautiful  ?    Yes?" 

Yes.  she  was  beautiful. 

"Then  you  don't  blame  me."  she  said  anxiously,  "for 
letting  people  know  I  have  her.  Why,  she  is  the  most 
important  thing  in  life  to  me.  How  could  T  not  talk- 
about  her ! 

"They  also  tell  me,"  she  added,  "that  I  must  say  I  am 
twenty — never  more  than  twenty.  But  no  one  would 
believe  that.  T  am  twenty-four,  very  soon  twenty-five. 
What  difference" — bewildered — "can  my  baby  or  my 
make  to  the  public,  if  my  work  is  all  right?  I  don't 
understand  at  all." 

Was  it  for  this  that  Paramount  discovered  Europe? 
Where  are  the  panoplies  of  yesteryear?  We  who  formed 
exotic  opinions  of  German  stars  from  Pola  of  the  high- 
colored  temperament  and   the  grand  passions  are  taken 

ick  by  the  well-mannered  Marlene.  She  is  pictorial, 
but  she  isn't  picturesque.     She  is  no  high  explosive,  no 


Photo  by  Kicliec 

Marlene   Dietrich  makes 
opposite  G 


tornado  of  temperament  and  wiles  and  arrogance.  She 
is  a  charming  young  woman,  obviously  well-bred  and 
intelligent. 

She  didn't  even  start  out  to  be  an  actress  at  all. 
Marlene's  childhood  featured  no  nursery  theatricals  with 
pins  for  admission.  The  yearnings  of  her  adolescence 
were  of  another  sort. 

From  early  childhood,  the  little  taffy-haired,  violet- 
eyed  Dietrich  studied  violin.  Between  the  efficiency  of 
German  musical  training  and  Marlene's  genuine  talent 
it  was  soon  apparent  that  here  was  no  ordinary  prodigy. 
Herr  Dietrich  was  an  army  officer,  which  position  en- 
tailed frequent  trips  away 
^^^^  from  their  native  Berlin ;  but 

no  matter  where  they  were, 
the  best  music  master  avail- 
able was  always  engaged  for 
Marlene. 

At  sixteen  or  so,  when  her 
dreams  of  the  concert  stage 
were  approaching  reality,  a 
disaster  blasted  them.  Mar- 
lene was  practicing  six  hours 
daily.  Stronger  wrists  than 
hers  would  have  weakened 
under  such  a  strain.  To 
Marlene's  dismay,  a  muscle 
in  her  left  hand  gave  out, 
temporarily  paralyzing  the 
hand,  wrist,  and  forearm. 
When  she  recovered,  the 
doctor  announced  that,  with 
infinite  care,  she  might  in  a 
feu-  months  give  one  concert, 
if  numbers  were  selected  that 
would  not  tax  her  strength. 
But  never  must  she  attempt 
a  season  of  anything  so  heavy 
as  routine  concert  repertoire. 
To  the  ambitious  Marlene 
no  announcement  could  have 
been  more  devastating.  She 
was  not  interested  in  pretty 
programs  of  drawing-room 
caliber.  Only  such  as  Bach. 
Beethoven,  Debussy  would 
sound  from  the  strings  of  her  violin.  And  since  these 
were  forbidden,  her  career  was  finished  before  it  was 
begun. 

Ill,  nervous,  and  utterly  desolate,  she  was  sent  away 
to  recuperate.  Her  own  existence  having  lost  all  direc- 
tion, she  took  refuge  in  reading.  For  months  she  lived 
in  books,  desperately  trying  to  fill  the  long  hours  that 
had  heretofore  been  spent  richly  with  her  violin. 

"I  was  staying  in  Weimar,  the  town  of  Goethe,  when 
I  happened  on  a  play  in  verse  by  one  of  our  greatest 
German  poets.  One  passage,  'Love  and  Death.'  was  so 
beautiful  that  I  read  it  over  and  over  and  I  found  that 
when  I  said  it  aloud  the  words  were  so  lovely  they 
sounded  almost  like  music.  And  it  suddenly  occurred 
to  me  that  it  would  be  thrilling  to  say  them  on  the  stage. 
Continued   on   page  96 


her   debut   in  "Morocco, 
ary  Cooper. 


7;. 


i 


Marlcix-   Dietrich,   brought  here  to  compete   with  f.reta  (iarbo,  is 

rather   bewildered  iippoeed   to   {otter    romantic 

appeal  by   not  talking  alx^it  her  baby  or  telling  ber  trm- 
th'mKh  -.In-  d  ni'l  more,  on  the  opposite  pa 


n 


That  Little  Cafe 

It     is     there     that     Maurice 

Chevalier   works   as   a   waiter 

in  his  new  picture,  "Playboy 

of  Paris." 


Eugene  Pallette,  left,  as  Pierre, 
the  chef,  offers  Maurice  Chevalier, 
as  Albert,  not  a  dish  to  take  to  the 
table,  but  a  revolver  as -a  solution 
of  his  difficulties  in  the  restaurant. 


Mr.  Chevalier,  below,  meets  Cecil 

Cunningham,  as  Edzvige,  who  has 

pursued  him  for  years. 


77 


Wkere  Blooms 

the  Cactus 

Every  desert  has  its  roses,  and 
stalwart  heroes  always  find  them, 
even  as  Richard  Arlen  encoun- 
ters Rosita  Moreno,  in  "The  Law 
Rides  West.'* 


Rosita  Moreno,  a  newcomer,  at 
top  of  page,  is  the  Spanish  hero- 
ine  who  inspires  Richard  Arlen 
to  do  and  dare  and  love,  while 
Indians  menace,  sheep  contribute 
atmosphere,  and  the  eternal 
West  remains  at  a  standstill 
that  the  movies  may  glorify  it 


Junior  Durkin,  a  juvenile  actor 
from  the  stage,  right,  is  paired 
off  with  clever  Mitzi  Green, 
who  gives  every  star  she  sup- 
ports .a  race  for  major  I 


78 


An  Arabian 


Time  and  the  hour  bring  to  the  talking  screen  "Kismet,"  the 
created  the  role  of  Hajj,  the  beggar,  whose  cry,  "Alms  for  the 

by  a  new 


Otis  Skinner,  at  top  of  page,  as  Ha;j.  the  wily  beggar,  brings  to  Loretta  Young, 
as  Marsinah,  his  daughter,  a  purse  of  gold,  though  he  is  too  crafty  to  let  it 
out  of  his  hand.  The  girl  whose  seclusion  he  jealously  preserves  is  secretly  in 
love  with  a  young  man  on  the  other  side  of  the  garden  wall.  Though  repre- 
senting  himself   as   a   gardener's   son,   he   is   really   the   Caliph .   as   played   by 

David  Manners,  left. 


7«) 


Night 


stage  success  of  many  years  ago,  with  Otis  Skinner,  who 
love  of  Allah,  for  the  love  of  Allah,  alms!"  will  be  heard 
generation. 


Gliding  into  this  story  <»!  intrigue,  murder  and  love  triumphant  in  an  Oriental 
setting,  is  the  glamorous  figure  of  Mary  Duncan,  at  top  of  page,  as  Zuleika. 
favorite  of  H'a:\r  iimtumr,  ruler  of  the  police  of  Bagdad  When  Loxctta 
Young,  a*  Murstnah,  pleads  with  Zuleika  for  the  life  of  her  father,  the  wicked 
woman  turns  a  deaf  ear  to  the  young  girl's  anguish.  But  the  fate  of  Zuleika 
and  her   lover   is   sufficiently   spectacular   to   bring   a    smile   oack    to   the    lip*   "I 

Young,  right 


80 


Kay  Francis,  as  Marya 
Sabtin,  at  top  of  page, 
visits  Kenneth  Mac- 
Kenna,  as  her  hus- 
band, only  to  learn 
that  he  is  sentenced  to 
death  for  neglect  of 
duty. 


Miss  Francis  and  Mr. 
MacKenna,  below,  as 
husband  and  wife 
united  in  sympathy 
rather  than  love. 


Miss  Francis,  above,  as  the 
wife  who  masquerades  as 
an  entertainer  of  soldiers, 
follows  Walter  Huston,  as 
General  Platoff,  determined 
to    fascinate    him. 

Mr.    Huston   is    seen,    right, 
in  a  characteristic  expression. 


What  a  Wife 
Will  Do 

"The  Virtuous  Sin" 
makes  a  heroine  of  a 
woman  who  seduces  a 
general  in  order  to  win 
a  pardon  for  her  hus- 
band, with  Kay  Francis, 
Walter  Huston,  and  Ken- 
neth MacKenna  solving 
the    triangular    problem. 


SI 


—  MF  • 


r 


■    -     . 


In  Old 

California 

The  Golden  State  as  it 
was  in  1850  provides 
Richard  Barthelmess 
with  a  dashing  role  in 
"Adios." 


Mr.  Barthelmess,  at  top  of  page, 
masquerades  as  "El  Puma,"  a 
bandit,  with  Arthur  Stone  and 
Barbara  Bedford  taken  in  by 
the   deception. 


*»    >■* 


ttf\ 


Mr.  Barthelmess,  be- 
low, finds  in  the  dual 
role  of  Spanish  aris- 
tocrat and  bandit  a  de- 
cided departure  from 
his  repressed  acting  as 
the  hero  of  "The  Dawn 
Patrol,"  his  current 
success. 


V 


* 


Mary  Astor,  above,  as  Dona 
Rosita  Garcia,  wistfully  Ions- 
for  the  return  of  her  high- 
born lover,  little  dreaming 
that  he  is  a  bandit  bent  on 
avenging  the  wrongs  visited 
upon  his  people. 

Mi>-  Astor  and  Mr.  Barthel- 
mess as  Don  Francisco  I>ri- 
fino,  at  left. 


82 


A  Living  Rainbov? 

Entirely     in     Technicolor,     the     breath-taking     beauty     of 

Ziegfeld's  production  of  "Whoopee,"  starring  Eddie  Cantor, 

is  brought  to  the  screen  by  Samuel  Goldwyn. 


Music,  laughter  and  pag- 
eantry are  combined  to 
make  "Whoopee"  as 
memorable  on  the  screen 
as  it  was  on  the  stage, 
where  it  placed  the  drol- 
leries of  Mr.  Cantor 
against  a  Western  back- 
ground, with  Indian 
dances,  rites  and  proces- 
sionals as  only  Mr.  Zieg- 
feld  could  visualize  them. 


"The  Hymn  to  the  Sun" 
is  sung  by  Chief  Cau- 
polican,  at  top  of  page ; 
and,  left,  is  seen  a  detail 
of  a  number  that  caused 
the  Technicolor  cameras 
to  gloat. 


8a 


Who  Knoxvs  the  Rest? 

This  unusual  short  story  tells  how  a  girl  singer  in  an  obscure  theater  happened  to  get  a  chance  in  the 
movies,  and   you  will   decide  what   befalls   her   then,  for  the  beginning   is  true  to  life  in  Hollywood. 


By   W.  Carey  Wonderl? 


T 


HE  man  and  the  woman  had  run  down  to  plendale 
t.>  sec  the  screening  of  an  old  Earle  Marsh  pic- 
ture, made  twelve  years  ago  when  that  star  was 
at  the  height  of  his  fame.    Judged  by  present  standards, 

„ed  production  seemed  silly  and  outmoded,  hut  it 
had  something — heart,  s  >ul — which  the  current  Marsh 
offerii  lacked.     That  the  actor  had  been  able  to 

retain  favor  at  all  with  his  public,  after  twelve  years  of 
indifferent  films,  proved  at  least  that  he  had  brought 
something  more  than  a  handsome  face  to  the  screen. 
Sitting  side  by  side  in  the  darkened  theater,  man  and 
woman  sighed  sentimentally. 

"Them  were  the  days.  Lidy,"  he  remarked  with  a 
heroic  attempt  at  juvenility. 

U  don't  look  a  day  older,  my  friend."  whispered 
Lydia  Lloyd.  "You  must  make  a  talking  version  of  that 
old-timer.  I  shall  start  the  ball  rolling  in  my  column 
instanter." 

u  were  always  sweet  to  me.  Lidy." 

"We  old  guard  must  stick  together.  Let  me  see.  I'll 
say  I  happened  into  a  little  tumble-down  movie  house 
in  the  suburbs  the  other  day  and  there  before  my  eyes 
-creened  an  old  silent  picture  of  Earle  Marsh's, 
made — we'll  say  six  years  ago.  Earle.  As  I  sat  there 
in  that  old-fashioned  theater.  I  was  thrilled  by  the  depth, 
the  drama,  the  soul  of  that  old  picture.  It  was  as  good 
to-day  as  it  had  been  five — no,  six  years  ago.  All  it 
lacked  was  voice.  I  shall  add  that,  if  Joe  l'.oasberg  is 
as  clever  as  I  think  he  is.  he  will  make  a  talking  version 
of   "Ashes  of  th    Earle    Marsh,    immediately. 

That  for  to-morrow's  column,  my  friend.  And  after 
that,  day  after  day,  I  shall  continue  to  hammer  away,  a 
little  of  the  same,  always  stronger — in  my  syndicated 
stuff — until  fans  all  over  the  country  begin  to  write  in 
to  the  Boasberg  studio.    Like  the  idea,  Early  ?" 

He  liked  the  idea.  He  knew  her  power.  Lydia  Lloyd 
was  the  Hollywood  representative  for  a  great  chain  of 
newspapers,  writing  daily  gossip  of  the  picture  industry, 
and  as  such  her  following  was  large  and  loyal. 

"But  the  old  crowd  is  scattered. "  Marsh  complained 
after  another  reel  of  film.  "Ivy  English,  there — she  was 
•theart,  Lidy.  They  don't  give  me  leading  ladies 
like  Ivy  any  more.  Of  course,  Boasberg  considers  that 
I  am  perfectly  capable  of  earning  a  picture  alone,  and 
my  support  means  nothing,  but — you  know  me.  Lidy — 
ever  generous.  Not  a  jealous  bone  in  my  body.  T  want 
everybody  to  have  a  chance  in  my  pictures.  Therefore, 
I  demand  a  leading  woman  with  youth,  beauty — not  these 
antiques  from  Broadway,  with  only  a  speaking  voice  to 
excuse  their  presence  on  the  lot.  I  want  dimples,  curls, 
not  a  Sarah  Bernhardt." 

"Of  course,  Earle.     Ivy  English !     She  was  darling, 
the  very  foil  for  you,  dear  fellow.     Oh,  where  are  the 
-  of  yesterd: 

Lydia  was  becoming  sentimental :  she  clasped  his  hand. 
Marsh  sighed.  They  were  friends,  good  friends,  old 
friends,  and  had  been  for  years. 

The  story  came  to  a  romantic  close,  but  for  a  moment 
they  lingered  in  their  seats,  browsing  in  the  memories 
of  yesterday  like  cats  in  the  sun. 


And  then,  before  they  could  leave  the  theater,  the 
tinny  note-,  of  a  piano  smote  the  ear--  and  a  hard,  cold 
Spotlight    was    focused   on   the   little    stage. 

"Horrors,  a  singer!"  murmured  Lydia,  struggling  to 

her  feet. 

A  girl  walked  out  in  the  calcium  glare  and  Earle 
Marsh  turned  to  look,  lingered,  and  looked  again.  Si- 
lently he  dropped  back  in  his  seat,  drawing  Lydia  into 
hers.    The  girl  was  singing. 

"Ivy  !"  tin'  man  gasped. 

"Hut  Ivy  English  is  fat,  bleached  and  forty,  and  play- 
ing vaudeville  in  the  East,"  Lydia  reminded  him  witli  a 
hard  laugh. 

"I   mean — she's  like  Ivy  was,"   said   Marsh,   all    i 
and  ears. 

"Yes,  dear  boy.  she  is — rather.  And  unless  she's  care- 
ful, she'll  be  what  Ivy  is  to-day." 

"She's  marvelous,  Lidy!  With  that  cruel  light  on  her 
— look  at  her!  Perfection!  Real  youth — gloriously, 
vitally  young,  Lidy.  Unspoiled.  Just  as  Ivy  was  in 
'A-lies  of  Roses.'     Lydia.  there  is  my  new  leading  lady  !" 

"Nonsense,  Early." 

"Why  nonsense?"  he  queried,  a  trifle  coldly. 

"Who  is  she?" 

"What  difference  does  that  make?" 

"Without  experience " 

"Lidy,  there's  too  much  experience  in  Hollywood  now 
— that's  the  trouble.  This  girl,  unspoiled,  beautiful, 
young — really  young — why,  even  her  gaucherie  is  ador- 
able, Lidy !  I  must  sign  her  at  once.  I  must  find 
out " 

Unceremoniously  he  brushed  past  Lydia  and  stormed 
up  the  aisle,  loudly  demanding  the  manager.  Lydia 
followed.  Once  she  gazed  back  at  the  singer  and  there 
was  a  tear  in  her  eye.     Verily  the  girl  had  something. 

The  manager  had  gone  home  to  supper  and  Marsh 
found  himself  talking  to  an  upstanding,  clean-cut  youth 
who  did  double  duty  as  ticket  taker  and  usher  in  the 
little  theater.  • 

"Who  wants  to  know'"  this  young  man  demanded 
with  pugnacity  when  Marsh  commenced  to  question  him. 
"She's  my  girl,  see?  We're  gonna  be  married.  I  L,rot 
the  bungalow  all  picked  out  and  a  down  payment  on 
some  nifty  furniture.  Maybelle  ain't  looking  for  any 
Johns.     I'm  her  steady  regular." 

"But,"  ventured  Earle  Marsh,  drawing  himself  up, 
"I'm  not  interested  in  the  young  lady — personally.  I 
was  thinking  of  a  career.     I  am " 

Lydia  tugged  at  his  sleeve.    "Earle,  oh.  EarleP1  she 

whispered.  "Please!"  She  drew  him  outside  and  to- 
ward their  car.  "You  can't  do  it.  old  friend,"  she  mur- 
mured. "Don't  you  understand?  They  are  in  love. 
She  doesn't  want  a  career.  Why.  they  have  each  other! 
A  bungalow  all  picked  out — and  nifty  furniture,  too. 
What  can  you  offer  this  child  in  place  of  that.  Early? 
Why,  it  would  be  a  sacrilege!  That  boy  would  want  to 
kill  you.  and  I  don't  blame  him.  Yon  mustn't  dub  me 
sentimental,  but  consider  Ivy,  the  others  we  have  seen 
come  and  go.  Broken.  Useless.  Hollywood  is  full  of 
Continued  on  page  113 


84 


Billie 

Dove 

has 

beauty, 

talent, 

and 

character. 


Wkat  No  Star 

The  secret  of  popularity  is  often  talked  about  and 

say   how   long   it  will   last,   least   of  all  those  who 

it  goes  on,  while  many  fighters 

B?  Willard 


Gloria        Swanson's 

dynamic      eagerness 

keeps  her  popularity 

mounting. 


E\  'ER.Y  day,  every  night,  in 
every  theater  in  the  United 
States,  a  popularity  contest 
is  going  on.  Tt  is  taking  place  at 
the  box  oil  ice.  A  great  deal  more 
than  quarters  and  half  dollars  go 
in  at  the  little  grilled  window : 
much  more  than  tickets  are 
passed  beneath  the  glass  cage. 
With  every  quarter  that  goes  in 
and  with  every  ticket  that  is 
passed  out,  a  vote  is  being  cast. 
The  star  whose  painted  features 
are  splashed  on  the  billboards 
which  flank  the  entrance,  is  viewing,  as  it  were, 
her  fate. 

If  her  black-daubed  eyes  look  forth  on  crowds 
of  people,  if  her  pink  ears  hear  the  pleasant  jangle 
of  countless  coins,  she  may  well  broaden  the  vivid 
curve  of  her  lips,  for  these  things  tell  her  she  is 
popular.  If.  however,  she  beholds  the  ticket  seller 
yawning  over  Winnie  Winkle,  and  the  doorman 
abstractedly  shuffling  a  thin  handful  of  passes, 
pasteboard  tears  may  well  spring  into  her  eyes, 
for  the  disconsolate  scene  she  gazes  upon  tells  her 
she  is  not  so  hot. 

While  critics  are  wearing  out  their  pencils  be- 
rating and  lauding,  the  fans,  probably  little  realiz- 
ing the  irony  that  underlies  the  situation,  are 
carrying  on  their  personal  and  private  game  of 
choosing  their  favorites.  For  to-day's  box-office 
enthusiasm  is  bound  to  be  to-morrow's  star,  this 
and  that  dissenter  notwithstanding. 

The  critic  may  roundly  pan  a  certain  lovely 
lady  of  the  silver  sheet,  but  it  is  the  verdict  of  the 
or  not,  and  just  how  long,  this  lady  may  go  on. 
flock  to  see  her  limpid  pictures,  attracted  by  their  more-than-light  appeal, 
nothing  the  critic  can  say  or  do,  no  amount  of  pen  waving,  will  be  of 
any  avail. 

\nd  if  he  lauds  a  newcomer  to  the  skies,  but  this  newcomer  is  icily  rejected 
by  the  fans,  no  amount  of  publicity  can  make  them  take  her  to  their  hearts. 
If  the  critics  say.  "All  who  appreciate  a  really  fine  piece  of  acting  should  see 
Rita  Raspberry,  in  'Halfway  to  Hades,'  "  and  a  sweet  young  fan  of  uncertain 
intellect   advises  her   friends  not   to  go  to  the  Dreamland,  because  that  Rita 


Raspberry  person  is  there,  it  is  a  fair 
guess  that  Mi.ss  Raspberry  will  never 
be  more  than  a  passing  fancy. 

Then  comes  the  question,  just  why 
didn't  the  public  like  the  blossoming 
Rita?  Was  it  because  she  didn't  meas- 
ure up  to  their  standards  of  beauty  or 
charm,  whatever  they  may  be?  Or  was 
it  because  her  voice  was  displeasing? 
Was  it  because  she  impressed  them  as 
being  upstage,  or  colorless? 

Why  do  players,  seemingly  on  the 
sunny  peaks  of  popularity,  suddenly 
take  rapid  strides  downward  in  promi- 
nence and  favor?  Is  it  because  of  their 
own  neglect,  or  because  of  a  worn-out 
technique,  or  what?  Have  they  devel- 
oped cases  of  superiority,  as  was  the 
case  with  Patricia  Pcpoirc,  nee  Polly 
Pepper,  in  Marion  Davies'  "Show 
People,"  and  thus  lost  the  affection  of 
the  public?  Two  stars  may  attribute 
their  downfall  to  this  last  cause,  Mae 
Murray  and  Jetta  Goudal,  who  are  only 


Evelyn  Brent  proves  that  fans  de- 
mand   mere    than    beauty. 


fans  that  decides  whether 
For  if   millions  of    fans 


Popular, 
but 

lacking 
in 

distinc- 
tion 
is 

Marian 
Nixon. 


VV 


,s.-, 


Can  Tell 

analyzed,  but  no  one  can  put  his  finger  on  it  and 
possess  it.  Yet  the  struggle  to  capture  and  hold 
for  it   fall  by  the  wayside. 

Chamberlin 


Mary 

Astor 

lacks 

that 

certain 

something 

to  raise 

her  from 

the 

merely 

capable. 


now  recovering  from  their  rash  behavior. 

Whatever  the  cause  of  disapproval,  it  is 

expressed  in  the  silent   language  of  the 

md  like  I  ispberry  they 

go  their  way. 

-  it    we    can    discover   the 

for  the  great  popularity  of  cer- 
tain players,  and  the  causes  for  the 
waning    popularity    of    others.      An    ac- 

s'  popularity  should  hinge  on  at  least 
three  major  qualifications — beauty  and 
charm,  acting  talent,  and  character.  We 
are  not  including  voice,  because  handi- 
caps in  speech  have,  in  the  majority  oi 

5,  been  quickly  remedied.  We  find 
that  few  actresses  possess  all  these  attri- 
butes in  any  great  quantity.  Should  a 
star  be  blessed  with  all  three,  would  it 
be  indicative  of  the  perfect  actress?  You 
would  l>e  inclined  to  answer  yes.  and  yet 

tna  Talmadge  possesses  all  of  them, 
and  still  is  not  as  popular  as  many 
others.     What   does   she  lack?     Youth? 


Myrna    Loy    has    her 
frequent    appearances 
to  thank  for  her  popu- 
larity. 


Pleasant,    but    is    Loretta 
Young   conspicuous? 


Dorothy 
Sebastian 
is  kept 
from 

top-notch 
popularity 
by  poor 
roles. 


Novelty?  Good  stories?  Norma 
Shearer  is  another  who  has 
each  of  these  qualifications, 
and  while  she  is  popular,  her 
name  is  topped  by  others  who 
can  boast  of  little  of  any  of 
them.  The  real  reason  for  suc- 
cess is  too  elusive  to  describe. 

Everybody  from  Mary  Pick- 
ford    to    Louise    Fazenda    has 
been  exploited  in  the  name  of 
beauty.     As  long  as  every  one 
else  is  taking  a  fling  at  naming 
the  six  loveliest  players,  I'll  put 
in    my    half    dozen    nominees: 
Greta  Garbo,  Billie  Dove.  Car- 
mel      Mvers,      F.velvn      Brent, 
Aileen  Pringle.   Dolores  del  Rio.     The  idea  of  con- 
sidering Lillian   Gish,   Gloria  Swanson,   Alice  White, 
and  Marion  Davies  among  the  most  beautiful  women 
in     pictures     is,     to    me,     ridiculous.       Therefore     I 
wouldn't  say  that  an   overdose   of  beauty  has  been 
responsible   for  the  popularity  of  these   four.     How 
about    the   others?      Beauty   hasn't   accomplished    the 
glowing  things  for  Carmel  Myers  and  Aileen  Pringle 
that    it    has    for    Billie    Dove    and    Dolores    del    Rio, 
or  even    for   Evelyn   Brent.      So   fans   must   demand 
something  in  addition  to  beautv. 

Acting  talent  has  put  some  stars  in  the  headlines 
of  the  theatrical  columns,  and  it  has  stirred  critics 
to  occasional  bursts  of  oratory.  And  vet  there  are 
any  number  of  actresses  whose  talents  are  not  recog- 
nized to  the  full  extent  by  producers.  Renee  Adoree, 
Irene  Rich,  Dorothy  Sebastian,  brilliant  actresses  each 
one.  yet  their  popularity  and  prominence  does  not  reach  that  of  others 
far  less  gifted. 

Ruth  Miller  has  dramatic  ability,  beautv.  and  character; 
why  doesn't  she  shine;-  Betty  Compson  is  acknowledged  one  of  the 
on  the  screen  :  nearly  all  her  performances  elicit  praise. 
Why  isn't  she  starrer!?  Irene  Rich  has  a  world  of  character;  Li 
Velez  is  sadly  lacking  in  it  :  why  then  does  Lupe  for^e  ahead  by 
and  bounds,  while  Irene  languishes  in  semioblivion  ?  Vilma 
Banky  has  all   three   requisites,    SO  has    Marion    Davi<  not    'me 

of  them  approaches  the  popularity  of  Greta  Garbo. 


8G 


WKat  No  Star  Can  Tell 


Dolores 
del  Rio 
is  more 
beautiful 
than 
Greta 
Garbo, 
but  is 
she  as 
popular? 


Dorothy  Mackaill  has 

had     one     of     the 

smoothest  careers. 


Jetta   Goudal    did    not   im- 
press the  ordinary  audience. 
Her  highly   artistic   portray- 
als,  many  of   them  gems   in 
character     delineation,     held    / 
little  popular  appeal.     Then,    ^x 
too,    Jetta   became   high-hat, 
and    found    to    her    sorrow, 
perhaps,    that    she    had    not 
profited  by  it.     She  refused 
to  come  down  to  the  level  of 
other  folks,  and  held  herself 
a  considerable  distance  above  the  rest 
of  the  town.     She  wished  it  distinctly 
understood  that  she  was  the  most  im- 
portant player  in  any  film  in  which 
she  appeared,  whether  her  part  was 
great  or  small.     This   supreme   ego- 
tism   of    hers    may    be   said    to   have 
knocked     her     out     completely     with 
the   fans.      It   may   have  been   justi- 
fied in  the  eyes  of  the  players,  but 
not  in  the  eyes  of  studio  officials  and 
the  public. 

Even  though  Jetta  Goudal  was 
a  fine  actress,  the  public  didn't  find 
it  difficult  to  forget  her  brilliant 
work.  In  the  days  when  she  was 
away  from  the  screen,  she  was  re- 
membered only  as  a  bizarre  and 
enigmatic  personality  marked  by 
temperamental  outbursts  and  eccen- 
tricities; practically  no  mention  was 
made  of  her  dramatic  ability.  Un- 
doubtedly if  the  stately  Jetta  had 
been  more  sincere  in  her  work,  if  she 
bad  mingled  with  Hollywoodites,  the 
fans  would  have  been  more  enthusiastic. 
Mi>s  Goudal  killed  her  own  popularity. 

And  Mae  Murray.  Nobody  seems  to  be  quite  certain 
whether  Mae  is  popular  or  not.  She  was  never  a  favor- 
ite with  the  critics,  and  never  will  be.  They  have  given 
their  opinion  of  the  vivid  Mae  and.  in  return,  she  has 
given  her  opinion  of  them  in  no  uncertain  terms.  For  a 
time  I  believe  she  really  tried  to  tone  down  her  famous 
exaggerations,  but  it  was  a  useless  endeavor.  She 
isn't   a    remarkable   actress;    at    times    her    work    i^    very 


I.  at  times  it  is  buried  in  a  sea  of  affectation.  Her 
egotism  and  superciliousness  damaged  her  career  in 
the  Name  way  it  damaged  Goudal's.  Nobody  wanted 
her  services. 

And  yet  the  public  likes  Mae.  she  is  immensely  pop- 
ular, and  her  personal-appearance  tour  broke  all  rec- 
ords. Her  films,  no  matter  how  extreme  they  may 
be,  are  always  box-office  hits.  Murray  films  can*t 
really  be  called  poor.  They  are  invariably  redeemed 
by  elaborate  and  unusual  settings  and  costumes,  and 
by  the  colorful  and  exuberant  personality 
of  the  star  herself.  Hers  is  the  case  of  a 
popular   star   being  heartily   disliked. 

Corinne  Griffith  has  long  been  one  of  the 
screen's  most  popular  stars,  but  now  it  looks 
as  though  her  star  were  nearing  its  fade- 
out.  While  she  has  given  many  pleasant 
performances  and  always  pictorial  ones,  her 
films  have  often  been  only  so-so.  Corinne's 
fans  are  largely  women  wdio  admire  her 
delightful  sartorial  displays,  her  beauty,  and 
her  charming  manners.  The  fact  that  the 
languid  Corinne  has  been  repeatedly  con- 
sidered the  most  beautiful  actress  has  given 
her  considerable  publicity,  and  has  kept  her 
photographs  in  the  magazines. 

She  is  not  a  great  actress,  nor  a  great 
beauty,  and  her  last  picture,  "Back  Pay," 
encouraged  neither  critics  nor  the  star  her- 
self. I  believe  the  screen's  "orchid"  has 
had  her  day,  and  will  follow  in  the  foot- 
steps of  another  lovelv  ladv,  Florence 
Vidor. 

One  of  the  most  interesting  and  most 
unexpected  events  of  the  past  year  has 
been  the  way  Alice  White  has  slowly  but 
surely  topped  the  popularity  of 
Clara  Bow.  When  Alice  was  first 
introduced  to  the  screen,  she 
seemed  so  much  a  carbon  copy 
of  the  then  supreme  Clara  that 
armies  of  Bow  fans  stormed 
"What  the  Fans  Think,"  denounc- 
ing her  as  an  impostor  and  what 
not. 

Alice  didn't  say  much,  but  she 
kept  her  ten   little  toes  twinkling 


Margaret  Livingston's  many 

roles  keep  her  in  the  public 

eye. 


As  it  was, 


Kay 
Francis 
will  labor 
long  to 
equal  the 
popularity 
of  estab- 
lished 
favorites. 


What  No  Star  Can  Tell 


s7 


and  lu-r  two  eyes  sparkling,   while   Clara  day   In    day 

ew  plumper.     Both  developed  voices,  and  if  charac- 

were  to  be  considered,  is  the  less  blatant. 

Now   Alice   White   is   undeniably   occupying   the   niche 

1    for   so   short   a   time   by   the   flaming   Clara.      In 

1929,   Clara    Bow   was  queen   of   popularity;   in    1930 

.-   isn't.      Of    course,    it    is    possible    for   her   to   make 

comeback;  at  least  she  has  no  idea  of  retiring.     But 

r   recent   performano  ever   with   the 

w    bang.      Her    romances    with    Harry    Richinan 

and  others  have  injected  a  little  needed  publicity, 

hut  where,  oh  where,  is  the  Clara  of  yesterday, 

when    Alice    White    was    just    a    "horrid,    mean 

little  cat"? 

e  of  the  smoothest  and  most  harmonious 
careers  of  films  has  been  that  of  Dorothy  Mac- 
kaill.  Although  her  debut  had  little  auspicious 
■.it  it.  she  has  gradually  risen  to  enviable  pop- 
ularity. Fans  like  her  a  lot,  and  although  she 
is  not  a  particularly  strong  emotional  act- 

ne   from  to   talkies   without  a 

break;  and  has  starred  or  costarred  in  a  contin- 
uous output  of  entertaining  pictures.  Her  pood 
humor  and  natural,  unaffected  charm  make  for 
a  large  amount  of  popularity  and,  even  when 
is    the    snob,    fans    like    her,    1  they 

know  she  will  "pet  hers"  and  come  down 
earth  before  the  end  oi  the  film.  Dorothy  has 
that  certain  pi  ft  oi  playing  to  the  audience.  The 
pictures  in  which  she  appeared  with  Jack  Mulhall 
went  far  toward  establishing  her  popularity. 
They  were  an  ideal  team,  and  everybody  liked 
them. 

Why  has  Joan  Crawford  become  one  of  the 
>pular   players?      Certainly   not    because 
beauty,   nor  because  of   any  great  dramatic 
ability.      In    fact,   she  has  con- 
tributed  in   succession  three  or 
four     ordinary     propram     pic- 
tures.     And    while   three   poor 
pictures  would  send  most  play- 
>ut   the  studio  pates.   Joan 
keeps  ripht  on  being  immensely 
popular.       An     adoring     public 
greets  each  Crawford  film  with       M 
as  much  enthusiasm  as  it  would 
priceless  gems.     The  name  of 


Cons; 
popular- 
its'  is 
Mar  y 
Brian's 

reward 

for 

average 

talent. 


Greta  Garbo's 
physical  defects 
are  many  —  her 
great  appeal  is 
mental. 


.< 


Bebe     Daniels'     balanced 
talents  make  her  success- 
ful. 


Bessie 
Love's 
jolly 
person- 
ality is 
irresistible. 


Joan  Crawford  scintillating  on  a 
theater  marquee  is  more  succu- 
lent bait  than  almost  any  other, 
except  perhaps  that  of  Garbo. 
Wherein  lies  the  superlative  ap- 
peal  of   this  bright   favorite'5 

Tn  two  things.    First,  her  vivid 
personality.    The  brilliance  which 
shines  from  Joan's  shadow  coun- 
tenance    carries     her     audience 
alonp  on  the  crest  of  a  sparkling 
wave.     Tt  mirrors  a  vital  quality 
and    a    sincerity    which     excites 
admiration,  even  when   one   fails  to  be 
impressed  by  any   other  quality  of   her 
film.     The  picture  mav  be  unsavory,  the 
star's    performance    averape.    vet    Joan 
remains  apart,  a  dominant  and  striking 
fipure. 

Then,  too,  the  younper  peneration  of 
whom  probably  the  majority  of  the 
Crawford  admirers  consists,  can,  and 
no  doubt  docs,  hold  up  loan  as  a  model 
of  the  pay  young  modern.  For  she  can 
better  than  any  one  else  on  the  screen 
plorify  mad.  heedless  youth,  and  still 
remain  sympathetic. 

Olive  Borden,  Marie  Prevost,  Madpe 
Bellamy,  and  Ruth  Taylor  have  had 
their  fling  as  exponents  of  various  kinds 
of  modern  freedom,  and  haven't  pone 
very  far  with  their  efforts.  Olive  be- 
came high-hat  and  affected  ;  Marie  Pre- 
vost's  lonp  line  of  bedroom  farces 
drapped  themselves  to  a  tiresome  con- 
clusion, and  Marie  can  be  accused  of 
quite  a  little  vulgarity  in  her  work; 
Madge    Bellamy    found   that   temperament   lowered,    in- 

!    of    raised    her   prestige;    Ruth    Tnvlor's    annoyi 
manned  |   their  appeal,  and  her  debut   in  "I 

men  Prefer  Blondes"  was  anything  but  sensational.    But 
Joan  has  triumphed  over  shoddy  material  and  thin  pi. 

While  Corinne  Griffith.  Norma  Talmadge,  and  Col- 
leen   Moore    are    slowly    treadinp    the    path    toward    re- 
tirement,   Gloria    Swanson    goes    on    to    new    triunir  ' 
Her   enthusiasm    increases    with    each    new    film. 
Continued  on  pnpr  98 


Let  'Er  Buck! 


89 


Jacks  of  Queer 
Trades 

The   talkies    have   made   the   studios   their 

market     place,    and    this    article    explains 

what  they  do. 

B?   Myrtle   Gebhart 

BRICKS  by  the  square  yard.  Wax  cooks. 
Mike  tuners.  Fish  boj  s. 
A  man  rolls  skates  across  the  Boor,  on 
his  face  the  profound  vacuity  of  a  Gluyas  Wil- 
liams cartoon.  A  hoy.  equally  bored,  daps  two 
planks  together.  Another  mows  the  lawn  on 
a  studio 

\'o.   it   isn't   a   lunatic  asylum — just   a   talkie 

"Where   is    my   apple?      Anybody    seen    my 

apple?"  a  man  queries,   in   perplexity.      I    am 

about  to  inform  him  that  I  do  not  eat  the  prop 

the  set.  when  I  am  nudged  to  keep  still 

and   look  intelligent      It   seems   that   an  apple 

audio-frequency   tube! 

"Put  'Walton'  on  the  job!"  an  assistant  calls. 

v.  carrying  a  long  fishing  pole,  clambers 

up  a  ladder.     A  man  whose  face  you  never  will 

on  the  screen  re- 
peatedly -'  >r  his 
photograph,  his  like- 
ss  1  e  aught  by 
the  camera  more  fre- 
quently than  any  ac- 
tor's. 

Looking'   up   at    the 
mike  with  a  blank  ex- 
on,  another  man 
calls  numhers  monot- 
onously   into    its    tin 
ear.     Is  he  demented? 
ndeed,  Gerald,  he 
is  merely  one  of   the 
many    varieties    of 
n'ch  the  talk- 
ies have  added  to  the 
studio  personnel. 

Above  the  scene  on 
the  camera  booth,  or 
perched  astride  the 
rafters  over  it.  a 

'•ith  a  long  pole. 
What  is  the  boy  fish- 
He  isn't  fish- 
herald.     He  only 
like  he  is  fishing. 
A  great   many  things 
in     a     talkie     studio. 
Gerald,  only  look  like 
things — they    really 
aren't,  if  you  compre- 
hend. 

Vigilant  guardians  man 

the    sound    stages,    but 

Lillian    Roth    will    find 

a  way  to  get  in. 


Lois  Richardson  glues  felt  on  the 

soles    of    Lillian    Roth's    shoes    to 

make  them  noiseless. 

The  microphone  is  hung  pen- 
dulumwise  from  the  top  of  the 
stage  by  a  rope:  the  fish  boy 
moves  it  around  with  his  pole  to 
keep  it  near,  and  at  a  uniform 
distance  from,  the  player  whose 
dialogue  must  he  caught  as  she 
moves  around  the  set.  Some- 
times on  a  small  set  only  one 
mike  is  used  to  record  the  speech 
of  several  actors;  the  fish  boy 
sweeps  it  from  one  to  another 
above  their  heads  as  each  speaks. 
This  requires  knowledge  of  the 
lines  and  considerable  skill. 
Mr, re  politely,  he  is  called  the 
voice  chaser. 

Talking  films  have  augmented 
the  two  hundred  trades  employed 
in  a  studio  before  sound  to  four 
hundred,  of  which  a  quarter  are 
novel.  Going  loud  has  increased 
production  costs  twenty-three  per 
cent,  more  specialized  talent  be- 
ing required  in  all  branches.  I  \ 
pansion  is  the  slogan  of  this 
year's      production      budgel 

-000.000.  Thesumof$5 
000.000  has  been  added  to  the 
pretalkie  capital  investment  of 
$2,000,000,000,  including  thea- 
ters, in  America.  New  depart- 
ments have  been  created,  inci 
in  personnel  being  noticeable  in 
all  brani ' 


«fu 


Jacks  of  Queer  Trades 


The  pay  roll  of  $82,000,000  paid  annually  to  the  thirty 
thousand  regular  employees  of  the  Hollywood  studios, 
now  lists  a  number  of  strange  callings.  Technicolor  has 
created  many  unique  jobs.  Grass  carpets  for  garden 
-  must  be  grown  more  expertly.  The  wax  cook 
inly  makes  prop  food,  but  also  tenderly  nurses  the 
disks.      Even  cobweb   spinning  has   become   an   art! 

They  can  cover  sound  reflectors  on  the  set  with  a 
combination  of  masonite  and  balsam  wool,  glue  felt 
soles  on  si  ver  tables  with  felt  painted  to  resemble 

wood,  bang  doors  less  resonantly  with  the  slap  machine, 
fan  dice  around  a  drum  for  airplane  effects,  and  do  much 
other  ingenious  camouflaging  and  simulation  of  sound, 
all  of  which  require  skill. 

Engineers  are  at  work,  extending  the  range  of  photo- 
audio- frequency.  Even  the  charges  of  static  electricity 
generated  by  the  rub  of  silk  have  been  eliminated  by  an 
intricate  process  of  filtration.  The  problems  arising 
from  sounding  the  screen  have  presented  many  peculiar 
difficulties  which  are  being  solved. 

Only  workers  skilled  to  the  highest  degree  are  em- 
ployed  in  the  sound  department,  with  its  staff  of  engi- 
neers who  know  not  only  the  theory  and  practice  of 
recording  sound,  but 
who  are  familiar  with 
the  photographic  side 
of  the  industry.  They 
must  get  a  broad  view 
of  the  whole  field  and 
arrange  coordination 
of  all  factors.  These 
specialists,  according 
to  Carl  Dreher,  direc- 
tor of  the  RKO  sound 
department,  seldom 
take  part  in  actual 
production,  unless 
called  to  stage  or  loca- 
tion for  consultation. 

The  second  branch 
of  the  department 
comprises  men  who 
do  the  actual  record- 
ing. On  each  picture 
in  production,  there  is 
a  supervisor  an<i  a 
technical  crew.  His 
first  assistant  is  called 
the  recordist,  that 
term  being  used  be- 
cause recorder  signi- 
fies the  equipment  itself.  The  recordist  must  attend 
rehearsals  to  become  familiar  with  action  and  dialogue, 
that  he  may  properly  place  the  microphones;  and  he 
must  examine  sets  and  props  to  see  that  they  are  cor- 
rectly built,  and  free  of  materials  that  might  act  as 
sounding  boards. 

Helping  the  recordist  are  a  "stage  man,"  who  handles 
the  mikes,  a  phone  man,  who  maintains  constant  com- 
munication by  wire  between  sound  booth  and  stage, 
transmitting  instructions  and  reports,  and  the  marker, 
whose  sole  duty  is  to  remain  at  attention  at  all  times  and, 
when  both  cameras  and  recording  machines  are  turned 
on.  mark  the  beginning  of  action  by  snapping  two  pieces 
of  wood  together.  Cameras  photograph  his  action  and 
its  noise  shadows  the  sound  track;  thus  photography 
and  sound  are  more  easily  synchronized.  He  poses  for 
more  pictures  than  any  other  actor,  yet  never  has  been 
on  a  theater  screen !  Tn  some  studios,  the  clapper  is 
replaced  by  the  buzzer  boy.  who  holds  a  small  apparatus 
which  gives  a  flash  and  buzz  simultaneously  on  film  and 
sound  track. 


Whitey"    Schaffer    is   a   buzzer    boy,    his    job    to    flash    a   light   for 
silence  when  Jeanette   Loff  is  about  to  sing. 


The  voice  valet,  or  mixer,  sits  in  a  cage  overlooking 
the  set,  a  little  soundproof  glass  room  slung  halfway 
up  the  wall,  turning  gadgets  which  regulate  the  tonal 
volume  wired  to  him  from  the  mikes.  By  touching  his 
control  board,  he  can  spray  a  voice  electrically,  modulat- 
ing or  increasing  it,  when  it  comes  to  him  imperfect 
through  his  cans,  or  ear  phones. 

An  automatic,  one-dial  control,  installed  thus  far  only 
by  First  National,  simplifies  the  mixer's  job  somewhat. 
This  improvement  connects  with  several  mikes  at  once. 
A  radio  engineer  runs  the  generator  on  the  location 
sound  truck.  The  listener  does  just  that  all  day.  Sit- 
ting in  a  projection  room,  he  listens  to  all  the  noises 
waved  from  the  sound  tracks,  after  they  have  been 
gauged  by  the  mixer  and  recorded.  He  must  pass  on 
final  quality  and  accuracy. 

A  submarine  botanist  voice-guages  the  ocean's  seaweed 
chorus,  while  a  sea  tuner  interprets  the  volume  of  the 
wild  waves'  whisper.  The  gas-and-steam  man  provides 
radiators  that  sizzle  at  the  right  pitch,  gas  and  flame 
jets  and  the  like.  A  professor  of  physic;  tests  the  audio- 
frequency and  other  qualities  equally  unintelligible  to 
the   layman.      New   devices   to   simulate   noises   that,   if 

recorded  naturally 
would  shatter  the 
mike,  are  constantly 
being  introduced. 

Bricks  are  made  of 
horsehair,  cardboard, 
and  plaster  of  paris. 
The  mike  tuner's  kit 
consists  of  standard 
tuning  forks  and  a 
whistle.  Another  tests 
the  mike's  vibration 
by  calling  numbers 
into  them,  and  the 
swinger  places"  them. 
The  signal  man  on  the 
stage  rings  the  stop- 
and-go  bells  and  calls 
"Interlock!"  Another 
pads  the  squeaks  out 
of  chairs.  The  opera- 
tor of  the  sound  per- 
colator cuts  out,  by 
means  of  filters,  the 
reverberations  above 
the  voices  of  players 
in  some  location 
scenes,  such  as  the 
staccato  roar  of  a  motor  boat's  engine.  A  supervising 
cutter  in  the  laboratory  has  keen  ears  on  the  alert  to 
catch  a  bloop,  a  sound  made  when  a  badly  spliced  piece 
of  film  squawks.  A  man  makes  out  the  cue  sheet,  by 
following  which  the  theater  projector  knows  a  second 
ahead  of  each  scene  when  to  amplify  by  turning  his 
fader  dial. 

The  wax  cooks  wear  aprons,  but  no  chefs'  caps.  They 
regulate  the  temperature  of  the  wax  disk  and  keep  the 
delicate  medium  in  the  soft  state  essential  for  record- 
ing. You  think  that  gum  shoes  means  detectives?  Par- 
don, your  error.  They  are  men  assigned  to  push  the 
cameras  around  for  traveling  shots  taken  in  sound ; 
they  wear  special  shoes  with  thick  crape  soles. 

A  professor  gauges  voices  by  the  telegraphone,  laryn- 
giol,  stroboscope,  and  kymograph.  Oh,  yes.  indeed!  I 
rattle  'em  right  off  the  typewriter,  but  I  wouldn't  attempt 
to  speak  them  out  loud. 

By  sending  a  submarine  tester  overboard  when  a  sea 
location   is   in   prospect,   microphones   can   be   placed  to 
Continued  on  page  114 


Directed  by  W.  S.VAN  DYCK 

who  made  "WHITE  SHADOWS  IN 

THE  SOUTH  SEAS." 


i  ID  against  a  background  of  tropical  danger  and  primitive  passion, 

great  book  that  thrilled  the  world  has  come  to  life  with  all  its  adventure  and 
all  its  romance.  The  ivory  coast  of  Africa,  the  jungle,  a  ruby  worth  a  king's 
ransom,  a  white  orphan  girl  worshipped  as  a  goddess,  love's 
awakening  for  this  girl  and  her  English  lover,  their  thrilling 
escape  from  the  natives  and  the  terrors  of  the  jungle!  An  all' 
talking  production  .  .  .  the  greatest  thrill  picture  ever  shown! 
From  the  famout  novel  by  Trader  Horn  and  Ethelreda  Leu/it 


fTrfHJMl.V^ 


METRO-GOLDWYN- 


"More  Stars  Than  There  Are  in  Heaven' 


!■ 


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She  Was  Swept  Into  A  Magic  World 

A    chance   resem- 
blance    to     a    famous 
motion-picture    actress 
brought  to  Dawn  Mc- 
Allister   the    opportu- 
nity to  leave  the  drab 
world    of    stenography 
for  the  fascinations  of 
the  motion-picture  lot. 
And    soon    she    was 
head  over  heels  in  love 
with  an  actor  and  in- 
volved in  the  strangest 
mesh  of  circumstances. 
For  Fate  decreed  that 
she  must  go  on  imper- 
sonating   the    famous    star, 
and  soon  she  was  the  reign- 
ing beauty  in  the  fantastic  world 
of  studio  and  location. 
If  you  want  a  book  that  carries  you  at 
breathless  pace  from  start  to  finish,  then  here  it  is, 
tailor-made  for  you.     It  is 

The  Splendid  Folly 

By  BEULAH  POYNTER 

Outstanding  on  the  list  of  the  offerings  of  CHELSEA 
HOUSE,  one  of  the  oldest  and  best-established  publishing 
concerns  in  this  country,  "The  SPLENDID  FOLLY"  has 
about  it  the  distinctive  originality  and  swift  movement  that 
make  CHELSEA  HOUSE  love  stories  favorites  of  fiction- 
lovers  from  coast  to  coast.  Ask  for  it  at  your  dealer's  to-day, 
or  for  a  full  list  of  CHELSEA  HOUSE  offerings  write  to 

CHELSEA     HOUSE,    79    SeVentk    Avenue,  NeW  York  Cit? 


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IS 


Continued  from  page  61 
-  '.ie  new  line  of  work,  or  you  your- 
self were  taken  to  a  new  place.  Be- 
tween eight  and  fifteen  you  were  a 
active,  independent  little  idrl 
who  would  rather  play  out  of  d 

n  in  bad  weather,  than  >it  meekly 
and  wait  to  be  told   what  to 
da      When   you    followed   the   direc- 
tion oi  any  one  it  was  not  through  a 
.five  quality  that  made  you  < 

•   him.   hut   because 
.  active,  positive  in  giving 

pleasure.      \;  tl  vere  also 

quite   comically    grown    up    in    many 
ways,  and  if  your  mother  was  \\ 
could  take  care  of  her  just  as  well  as 
she  usually  took  care  of  you. 

A-  you  pass  d  the  age  of  fourteen 

nsitive,  emo- 

il.  dreamy,   imaginative,  quil 

trast  in  many  «  me  lively 

youngster  you  had  been  before.    Ail 

■  qualities  wire  much  stronger  in 

than  is  usually  the  case  at   such 

an  age.     But  you  soon  became  very 

active  indeed  in  a  material  way.  and 

you  a  marvelous  opportunity 

at  all  your  charm,  your  imagina- 

llityi  and  intuition  to 

implishment  of  threat 

You  were,  with  your  sensitive!: 
an  instrument  to  be  played  upon  by 
an  artist,  hut  an  intelligent,  self-con- 
trolled instrument  that  interpreted  the 
tune  in  its  own  way.     Sometimes  that 
intuition  of  yours,  and  that  real  cre- 
ative power   within   you,    rising  like 
beneficent  magicians  from  the  secret 
place  in  your  spirit,  made  you  swav  to 
a  tune  of  their  own  playing  that  was 
greater  than  them  all.     You  were  the 
true  artist,   all   sensibility  to  beauty, 
but  at  the  same  time  determined,  self- 
mined,  inspired. 
They  tell  me  that  you  are  married, 
and  I  am  {dad  of  it.   for  an  an' 
tender  heart  like  yours  could  not  live 
long   alone.'     You    need    love    as    a 
r  needs  the  sun.  and  in  spite  of 
quiet   self-sufficiency  you  have 
he  particular  stamina  to   stand 
alone   against   the   outer   world   and 
succeed.     Besides,  you  couldn't  keep 


The  Mastery*  of  Your  Name 


91 


on  pushing  away  that  crowd  of  in- 
-  stent  admirers  indefinitely,  cowhl 
you;  The  best  wax  was  to  choose  a 
nice  one  and  so  put  the  noses  of  the 
other>  out  of  joint.  You  do  love 
him  with  all  your  heart,  ami  if  he 
isn't  simply  mad  aboul  you,  he  isn't 
human  ! 

You  were  made  tor  greatness.  Ho 
not  let  a  new-found  temperament  run 
away  with  you  now.  You  probably 
have  not  yet  found  out  what  1  mean. 
hut  you  will  within  a  year  or  two. 
Vou  will  find  a  good  deal  of  that  de- 
licious poise  of  yours  disappearing, 
I  ou  will  become  excessively  sens, 
tive  to  an  imagined  cold  look,  while 
the  merest  hint  of  a  smile  at  your  ex- 
pense will  break  your  heart.  The  ad 
dition  of  your  marriage  name  to  your 
own  has  turned  your  total  digits,  both 
in   the   material    and    in   divinity,   into 

motional,  unstable  Number  Two. 

Keep  your  feet  on  the  ground,  dear. 
down  hard.  Dreams  have 
played  a  lovely  part  in  your  life,  hut 
do  not  let  them  turn  into  mirages  and 
vagaries.  Feed  your  imagination  with 
the  live  coals  of  the  love  you  cherish 
now.  for  if  you  do  not.  white-hot 
from  elsewhere  will  drop  into 
it  and  cause  a  terrible  conflagration. 

You  are  turning  from  a  sv\ 
adorahle.  independent,  almost  mvstic 
child  into  an  emotional,  fiery  woman 
whose  temperament  will  rise  at  one 
moment  to  the  skies  and  fall  at  the 
next  moment  into  the  deepest  gloom. 
You  will  love  fiercely,  tor.  fiercely, 
and  if  you  are  not  very  careful,  vou 
will  learn  that  it  is  amusing  to  play 
with  love.  It  is  a  dangerous  thin?, 
for  the  pirl  that  you  were,  to  he 
hurled  into  the  emotional  life  of  the 
woman  that  you  will  he. 

Balance  is  what  you  will  need,  and 
you  do  have  a  great  deal  of  it  in  this 
new  name,  as  well  as  in  the  old  one. 
since  you  retain  that  universal  Num- 
ber One  of  understanding  and  inner 
contentment.  Your  only  resource, 
when  you  find  yourself  getting  all  in 
a  flutter,  is  to  sit  down  very  quietly, 
all  alone,  and  wait  until  vou'  find  that 


center  in  you  that  is  really  peace.     It 

will   always   he   there,   your   infinite 

refuge,  and  all  you   have  to  do   is  to 

remember  it.  seek  it  and  find  it. 

Vou    v\  ill   have    vei  )    little   material 
SUCCess  of   your  OWn   w  ith   this  name, 

and  tin'  one  great  obstacle  will  he 
exactl)  your  willingness  to  take  day- 
dreams  for  reality.     Vou  w  ill  be  a 

wonder  at  building  castles  in  the  air, 
hut  verv  few  of  them  w  ill  materialize. 

I  hivvever.   you   need    not    vvorrv    about 

that  as  an  irremediable  future,  since 
you  will  have  two  more  husbands  hc- 
fore  vou  get  to  he  an  old  lady.  I 
don't  want  you  to  believe  me  now — 
certainly  not !— hut  there  they  are, 
staring  me  in  the  face,  so  l  ha- 

tell  you  aboul  them.  Both  will  ap- 
pear he  lore  you  are  fifty,  and  neither 
of  the  first  two  men  will  die.  Some 
of  the  trouble  will  he  dm-  to  th< 
citable  young  lady  that  you  will  he- 
come,  [n  any  case  you  will  u  i  u\ 
never,  to  your  dying  dav.  he  free 
from  some  ardent  admirer  pining 
the  privilege  of  at  least  touching  your 
hand.  Vou  will  usually  consider 
them  nuisances,  anyway,  so  any  hus- 
hand  of  yours  might  as  well  gel  used 
to  the  idea  right  now. 

You  will  he  a  wonderful  actri 
more  wonderful  than  before,  since 
you  will  add  to  your  native  charm  a 
dynamic  power  and  an  intense  per- 
sonal magnetism  that  will  hold  your 
audiences  spellbound.  Vou  were  al- 
ways charming.  Now  vou  will  he  a 
charmer,  and  that  is  not  the  same 
thin?  at  all.  This  will  he  quite  out- 
side of  your  own  will  and  desire,  and 
sometimes  you  will  despise  it.  hut  if 
you  lose  it  you  would  feel  as  if  vou 
had  died. 

Xo  matter  what  happens,  you  will 
always  he  young,  always  on  your  toes, 
always  trying  to  reach  a  Mar  with  the 
tip  of  your  finger,  and  when  vou  are 
sixty  you  will  he  as  adorable  as  when 
vou  were  sixteen.  Love  life,  enjoy 
life,  for  you  are  life  itself,  dear,  a 
quivering  human  spirit  seeking  to  be 
and  to  show  forth  all  the  love  and 
beauty  that  it  feels. 


Continued  from   page  60  ^     M>^0>     of   YoUF     KWe 


P.    Y.  R.   P.  C,  January  21,  1904.— Y-u 

the  wonderful  number  -  and 

ur  birth,   and   I   (mow   that 

you  have  tasted  the  joy  of  cxpre-sincr  it  to 

:11  in  the  pa5t  few  year-.     Y   u  are  a 

independent. 

tcr  by  nature,   full  of  fire  and   ac- 

There  always  have  been  many  diffi- 

joltk  path,  and  there  always  will 

be.  but  you  need  somct'  !i  to 

bite,   in  order  to  be  happy,   and   you   will 

lack  it.    You  have  always  been 
quick  and    intelligent   and   true,   but    since 

up  a  little 

of  tl  ve  sense  of  exactne^.  and 

rave   become   very   generous   and    kind    in 

-ur    judgmer-  had    in    your 


maiden   name   the  power  to   bee 

rich    in    later    life    through    independent 

business  activity,  and  while  marriage   will 

not  bring  you  as  much  as  you  could  earn 

in    the    end,    you    will 

it,   but   will   find   satisfaction    in 

are.  vvj]|  nev,  , 

with   this   name.      Nothing  can    remain   at 
the  bottom    U  -  (:f)n- 

dmply    won't    stand    fur   it! 
larl 
't    yon?— not    at    all    the    in 

besrinnintc  to  rule  ? 

tinu'. 

standing    for    your    age,    until    you    left 


home.     More  money  came  into  your  home 

how    when    you    were   about    thirteen. 

You   married   very   young,   perhaps   as   i  arly 

had  t  •. ecu  two  i  ■imp: 

men.     You  ar-  :d  and  b; 

but  your  only 
impulsive  and 
.'.ill    brii 
'ul  period  for  the  ni    I 

r  of  it  to 
to  your   li 

W.  S„  June  16,   1900.— You  are  re- 
markably intelligent,  ju 
will  bring  .!]  if 

tinued  on  page  11? 


92 

ntinued  from  page  29 
and  a  youth  who  was  arguing  with 

him  about  the  fourth  race  at    Tijuana. 

The  youth  offered  the  information 
that  she  was  to  make  publicity  pic- 
tures. 

"But  you're  going  to  work,  really, 
this  afternoon."  he  assured  her. 
"They  want  you  at  once,  so  we'll  rush 
through  this  stuff.  Now,  try  one 
arm  behind  your  head  and  look  lan- 
guorous— and  I  say  that  iilly'd  have 
come  in  first  if  he  hadn't  pulled  her," 
he  went  on  over  his  shoulder  to  the 
cameraman. 

Jane  was  worn  out  when  he  fin- 
ished with  her.  But  there  was  no 
time  for  luncheon.  She  had  to  hurry 
to  the  other  set — this  time  the  big-  set 
she  had  expected.  After  waiting  ten 
minutes,  she  sat  down.  After  wait- 
ing twenty  more,  she  was  amazed  to 
see  Gilson,  the  director  who  had 
dumped  his  atrocious  house  on  her 
hands.  He  strolled  over,  smiling  af- 
fably. 

"But — ees  it  zat  you  direct  my 
peecture?"  she  asked,  startled. 

He  laughed  and  sat  down  beside 
her. 

"Oh,  this  isn't  your  picture;  it's 
Paula  Wilding's,"  he  explained.  "I 
noticed  yesterday  that  your  hands  are 
beautiful,  and  hers  aren't  so  good, 
so  I  asked  to  have  you  double  for 
her  in  some  close-ups  of  the  hands 
alone.     Smart,  wasn't  I  ?" 

Jane  turned  icy  with  rage.  She 
leaped  to  her  feet,  brows  drawn  to- 
gether, the  hands  in  question  trem- 
bling. 

"I  do  not  double  for  any  one !" 
she  announced  furiouslv.  "I  act — 
but  I  do  not  double !" 

As  she  thought  over  that  scene, 
while  she  was  changing  her  clothes, 
and  on  the  way  home,  she  grew  still 
more  angry.  Perhaps  she  shouldn't 
have  rushed  away — perhaps  she 
should  have  stayed  and  said  all  the 
things  she'd  thought  of  since,  that 
she  wanted  to  say.  She  burst  into 
her  own  home  raging,  and  sputtered 
out  the  whole  tale  to  Mrs.  Markham, 
who  nodded  her  head  in  approval. 

"You  got  to  show  temperament," 
that  worthy  declared.  "I'm  glad  you 
did  it.  Look  what  Pola  Negri  got 
away  with.  I  was  almost  beginning 
to  think  you  wasn't  Spanish  at  all, 
never  stirring  up  a  real  row.  But 
you  got  to  be  careful;  let  'em  get  the 
idea  you're  hard  to  handle,  and  they'll 
let  you  sit  out  your  contract  at  home. 
They've  done  it  with  bigger  folks 
than  you  are,  and  you're  only  get- 
tin'  four  hundred  a  week — they 
wouldn't  mind  junkin'  you." 

Moodily  Jane  stared  at  her,  wish- 
ing she'd  fired  the  woman  after  all. 
It  v  it  to  In-  reminded  that 

she  really  count*  d  for  nothing  in  Hol- 
lywood, after  the  fuss  in  Xew  York. 


Babes  in   Hollywood 

"That  dinner  with  the  Spanish  con- 
sul," Mrs.  .Markham  continued,  set- 
tling herself  comfortably  in  an  arm- 
chair and  deftly  rolling  a  cigarette 
with  one  hand.  "Well,  that — say, 
this  is  quite  a  trick,  ain't  it?" — wav- 
ing the  cigarette.  "Bill  Hart  showed 
me  how  to  roll  'cm,  once  when  we 
was  on  location  together.  Well,  that 
dinner  party — the  consul,  he  can't 
come,  but  some  other  gink  is  takin' 
his  place.  J.  G.'s  secretary  just 
phoned.  They  say  this  other  man  is 
a  big  gun,  but  he  don't  savvy  no 
English,  and  some  other  guy's  comin' 
along  to  translate  for  him  when  any- 
body else  does  the  talkin'.  Anybody 
but  you,  that  is." 

"Good  heav — caromba!"  Jane  cried, 
aware,  just  after  she  opened  her 
mouth,  that  Mrs.  Markham's  beady 
eyes  were  intently  fixed  on  her.  "To 
meet  me  he  will  not  break  all  engage- 
ments?" she  raved  on.  "They  shall 
hear  of  zat  insult  at  home !" 

Once  she  hit  her  stride,  she  rather 
enjoyed  the  scene  she  put  on.  So  did 
Mrs.  Markham,  quite  obviously. 
When  Jane  finally  threw  herself  into 
a  chair,  she  was  all  but  applauding. 

"This'll  be  a  wives'  party,"  she 
announced.  "You  know,  an  awful 
proper  one.  Better  be  careful  about 
how  you  dress.  You  got  to  knock  'em 
cold,  but  at  the  same  time  you  got 
to  be  refined.  I'd  say  black,  and  not 
too  low.  Got  any  earrings?  They'll 
make  you  look  older,  see,  so's  the  old 
harpies  won't  be  jealous,  and  at  the 
same  time  you'll  be  real  distingue 
with  'em  dangling  down  on  your 
shoulders.  I  got  some  I  bought  off 
Theda  Bara's  maid.  Bara  give  'em  to 
this  girl,  but  they  made  her  look  sort 
of  horsylike,  she  havin'  a  long  nose 
already,  so  when  we's  workin'  to- 
gether in  'Dorothy  Vernon,'  with 
Mary  Pickford,  why,  she  traded  'em 
to  me  for  a  bracelet  I  got  in  a  sec- 
ondhand joint,  that  the  man  had  said 
was  worn  by  Marion  Davies." 

Jane  took  a  long  breath,  feeling 
that  she'd  have  to  come  up  for  air. 
Mrs.  Markham  took  one  also,  and 
started  in  again. 

"Use  lots  of  make-up,"  she  went 
on.  "Then  they  can  tell  each  other 
you  got  to  have  it  to  look  pretty,  same 
as  them.  Get  that  crew  dowrn  on  you 
and  they  can  force  you  outa  pic- 
tures." 

Jane  fled  to  her  bedroom  and 
locked  the  door.  She'd  have  to  rest. 
But  she  couldn't — if  she  didn't  brush 
up  on  her  Spanish,  there  was  no  tell- 
ing what  might  happen  to  her ! 

She  was  late  at  the  dinner  party, 
but  others  were  later.  The  bedroom 
where  the  women  removed  their 
wraps  was  filled  when  Jane  entered 
it,  but  none  of  the  women  made  a 
move    to    leave.       They    sat    about, 


touching  up  their  make-up  from 
gorgeous  vanity  cases,  smoking,  talk- 
ing. Each  arrival  was  eyed  as  if  she 
were  a  new  favorite  entering  a  harem. 
Yet  each  was  greeted  effusively. 

"Darling,  what  a  lovely  wrap!  I 
have  that  model  in  yellow,  but  with 
three  silver  foxes  instead  of  two." 
"My  dear,  that's  a  Celanie  model, 
isn't  it?  Mrs.  Uigginbotham  ordered 
it  one  da}-  when  I  was  with  her,  but 
of  course  she's  awfully  sensitive 
about  being  made  to  look  stouter,  so 
she  refused  it — said  they  might  sell 
it  for  just  anything."  "Oh,  Shirley, 
how  charming  you  look  to-night! 
You  always  look  so  sweet  in  that 
dress !  I  was  telling  Hilda  that  I 
don't  blame  you  a  bit  for  wearing  it 
all  the  time!" 

Jane  shuddered.  Why  didn't  they 
just  leap  at  each  others'  throats  and 
be  done  with  it? 

Paula  Wilding  arrived,  deter- 
minedly girlish  in  a  pale-blue  frock 
embellished  with  pink  ostrich  feath- 
ers. 

"All  she  needs  is  a  fat  white  horse 
and  a  ringmaster,"  commented  a 
dark,  thickset  little  woman  who  sat 
beside  the  dressing  table  where  Jane 
was  rearranging  her  hair.  She  took 
a  cigarette  case  from  a  bag  so  thickly 
set  with  diamonds  that  Jane  gasped. 
"You  don't  know  how  glad  I  am  to 
see  you,"  she  continued.  "A  new 
face  is  a  blessing.  I've  seen  all  these 
women  so  often  and  for  so  long  that 
I  wish  they'd  wear  masks.  At  the 
beach  club — afternoons,  for  bridge  at 
each  others'  homes— at  night — I  could 
scream !  I  had  more  fun  when  my 
husband  was  making  two-reel  come- 
dies, and  I  did  the  cooking  and  took 
care  of  the  kids,  and  helped  him  think 
up  new  gags  at  night." 

"What  does  he  do  now?"  asked 
Jane  eagerly. 

The  woman  groaned. 

"Somebody  discovered  that  he  was 
a  great  artist."  she  replied,  "and  now 
he's  sold  on  the  idea,  too.  Makes 
super-extra-specials  and  has  tempera- 
ment. All  I'm  living  for  is  the  end 
of  his  contract.  Then  I'm  going  to 
spend  one  clay  speaking  my  mind, 
saying  the  things  I've  bottled  up  for 
three  years,  before  he  signs  with  any- 
body else  and  I  have  to  start  wearing 
a  muzzle  again !" 

Jane  edged  nearer. 

"Who  arc  all  these  people?"  she 
whispered — needlessly,  for  the  other 
women  chattered  so  loudly  that  they 
couldn't  have  heard  her  if  she  had 
screamed. 

"Oh.  the  wives  of  other  producers 
that  J.  G.  wants  to  impress,"  the 
woman  answered  carelessly.  "And  a 
couple  of  bankers  who  may  come  in 
handy  are  here.  One  brought  his 
Continued  on  page  94 


93 


Avaunt  Dull  Care! 

That's    what    these    stars    say    when    they    board   their   yachts   after   a    Bieg6   at    the    Btudios. 


Charles  Farrell,  above,  true  to  his 
New  England  blood,  finds  more  re- 
laxation aboard  Flying  Cloud  than 
in  dancing  at  a  jazz  party,  though  he 
isn't  a  wallflower  by  any  mi 


R  i  c  h  a  r  -1 
Barl  helmess, 
right,  can 
liis  friends  no 
higher  compli- 
ment than  to 
invite  them  to 
join  him  on  the 
Pegasus. 


Neil     Hamilton,     center,     has     just 

bought  his  second  craft,  the  trim  and 

speedy    Venus,   which   supplants  the 

Digby   in   his    fickle    affections. 

Lloyd  Bacon,  below,  sees  to  it  that 

n ie  forgets   that  he  directed   Al 

Jolson  in  "Mammy!" 


John    and    Dolor<  • 
llo    B  a  r  r  y  - 
mon 

oard 
their  In- 

r,  which  cr 
farther     than     any 
yacht    in    the    film 
my. 


94 

Continued  from  page  92 
wife,  and  the  other  brought  a  sweet 
young  thing  of  about  forty  that  he 
wants  to  put  into  pictures.  That 
woman  in  yellow  is  the  wife  of  a 
director;  her  husband  made  a  bunch 
<>t  had  pictures  and  they  were  on  the 
shelf  till  he  turned  out  a  good  one 
by  accident,  and  now  they're  under- 
foot everywhere  you  turn." 

"I  wish  I  could  stay  with  you  all 
evening,"  Jane  told  her. 

"You  can't,  my  child,"  the  woman 
answered,  her  plain,  kindly  face  trans- 
formed almost  into  beauty  by  her 
smile.  "But  when  things  get  too 
thick  for  you,  come  to  see  me.  I 
know  all  the  tricks  of  Hollywood, 
and  maybe  I  can  help  you." 

When  the  women  flocked  down  to 
the  drawing-room,  the  men  were 
bragging  about  their  wives'  dress- 
makers' hills.  Mention  was  made  of 
a  ten-thousand-dollar  chinchilla  coat, 
and  a  nine-hundrcd-dollar  night- 
gown. The  hostess,  who  had  kissed 
Jane  effusively  and  begged  to  be 
called  "Gussie,"  because  she  liked  all 
the  little  movie  girls  to  call  her  that, 
wrenched  the  conversation  to  a  new 
topic. 

"She's  been  taking  lessons  in  eti- 
quette, at  fifty  bucks  a  throw,"  the 
plain  little  woman  told  Jane.  "Now 
we'll  have  art,  music,  literature,  and 
love." 

She  was  right.  Jane  discovered 
that  music,  in  this  circle,  meant  theme 
songs.  Art  was  encompassed  by  the 
new  drapes  in  Sid  Grauman's  Chi- 
nese Theater  and  the  curtain  at  the 
Biltmore.  Literature — ah,  there  was 
something  they  could  get  their  teeth 
into !  They'd  all  read  reviews  of  the 
newest  books,  the  same  reviews, 
which  they  told  each  other  about,  in- 
sistently, each  waiting  merely  till  the 
other  stopped  for  breath  to  leap  in 
and  complete  a  sentence.  Thev  gave 
figures,  quoted  Variety  on  the  sales 
of  the  best  sellers.  And  love — 
"Well,"  exclaimed  one  plump  matron 
conclusively,  "Ben  certainly  does  love 
that  girl ;  did  you  see  the  ten-karat 
diamond  he  gave  her?" 

Jane  was  just  beginning  to  enjoy 
it  when  the  arrival  of  the  eminent 
Spaniard  struck  terror  to  her  soul. 
He  was  brought  straight  to  her.  and 
began  instantly  to  talk.  And  she 
could  understand  practically  nothing 
that  he  said. 

She  smiled,  and  murmured  "Si," 
at  intervals.  On  he  went.  At  dinner 
he  sal  at  her  right  and  neglected  his 
food,  the  better  to  talk  to  her.  Jane 
began  to  feel  that  she  was  in  a  night- 
mare and  would  never  wake  up. 

He'd  found  her  out,  of  course,  at 
once.  Now  he  was  just  trying  to  see 
how  much  of  a  fake  she  was.  He'd 
tell  J.  G.  and  she'd  he  exposed  be- 
fore everybody !     She  couldn't   eat. 


Babes  in  Hollywood 

Her  icy  hands  clenched  in  her  lap, 
she  smiled  till  her  face  ached.  She 
longed  for  oblivion. 

Dinner  was  over  at  last,  but  the 
men  did  not  linger  at  table.  Even- 
one  was  herded  into  the  music  room. 
J.  G.  had  a  new  pipe  organ,  me- 
chanically operated,  and  wanted  to 
show  it  off. 

To  Jane's  relief,  he  commanded 
that  it  play  gems  from  Wagner.  It 
did.  It  hurst  into  the  "Ride  of  the 
Valkyries"  with  a  blast  of  sound  that 
all  but  split  the  guests'  eardrums. 
The  Spaniard  clapped  his  hands  to 
his  head  and  rushed  off  to  the  con- 
servatory, and  Jane  settled  back, 
hoping  to  he  left  alone. 

As  the  music  stopped,  a  thin,  dark 
young  man  appeared  before  Jane. 
She  recalled  having  seen  him  at  din- 
ner, but  couldn't  remember  who  he 
was.  He  began  to  speak  softly  in 
Spanish,  and  at  his  first  syllable  her 
body  grew  rigid  with  fear. 

But  to  her  delight  she  found  that 
she  could  understand,  his  musical, 
liquid  speech.  She  answered  him, 
and  he  understood  her !  Delightedly 
they  conversed  together. 

"Could  you  understand  that  old 
fossil  who  was  your  dinner  partner  ?" 
he  demanded.  "I  feel  as  if  I  were 
back  in  school  when  he  carries  on. 
He  belongs  in  a  museum,  doesn't  he? 
I  saw  that  you  looked  puzzled,  and 
was  sorry  for  you.  I  have  to  go 
along  and  interpret  for  him,  and  it's 
a  strain,  I  tell  you!" 

Jane  sighed  her  relief. 

"I  couldn't  follow  him  at  all,"  she 
answered.  "I'm  sure  he  thought  I 
was  just  pretending  to  be  Spanish !" 

The  young  man   laughed  heartily. 

"As  if  any  one  could  possibly  think 
you  were  anything  else !" 

The  dinner  party  broke  up  early. 
Paula  Wilding  said  she  had  to  be  in 
bed  by  ten,  because  when  J.  G.  was 
so  good  about  giving  her  everything 
in  the  studio  to  make  her  picture  a 
success,  she  must  look  her  very  best. 
Jane  went  home  alone.  Never  had 
she  been  more  bored  or  so  nearly 
frightened  to  death. 

The  next  day  she  sat  at  home  and 
waited  for  word  from  the  studio. 
Sometimes  she  walked  the  floor,  but 
always  in  the  neighborhood  of  a  tele- 
phone. Mrs.  Markham  had  gone  to 
tea  with  a  friend  who'd  worked  as 
extra  in  a  big  special  and  knew  all  the 
dirt.  Jane  was  thankful  for  her  ab- 
sence. 

Finally,  at  five  o'clock,  when  it 
seemed  to  her  that  something  would 
simply  have  to  happen,  she  received 
a  telegram  from  Larry. 

"Just  landed  in  New  York."  it 
read.  "Got  faster  boat.  Flying  part 
way  home.    See  you  in  two  days." 

Two  davs  !    Almost  at  once !    He'd 


be  here  again — she'd  see  him  once 
more!  Yes,  but  Paula  Wilding 
would  see  him,  too — Paula,  who  was 
making  a  big  picture,  who  had  every- 
thing her  own  way.  And  she  herself 
hadn't  got  anywhere,  hadn't  done  any- 
thing! 

She  slumped  into  a  chair,  wonder- 
ing if  it  wouldn't  be  wise  to  take  the 
first  train  out  of  town.  This  wasn't 
for  her,  this  queer  life  here,  in  this 
funny  town.  Gloomily  she  stared  at 
the  floor,  so  sunk  in  despair  that  she 
hardly  knew  some  one  had  come  into 
the  room  till  Polly  Barker  spoke. 

"Hullo,  lady,"  said  that  young 
woman  briskly.  "I  hear  that  you 
pulled  a  lot  of  hot  Spanish  stuff  at 
J.  G.'s  dinner  last  night  and  that  the 
big  Spanish  bozo  who  was  present 
says  you're  the  first  real  representa- 
tive of  his  country  that  he's  seen  at 
large — nice  and  demure  and  a  real 
Castilian.  What?  Haven't  read  the 
papers?  Well,  they're  all  plastered 
with  pictures  of  you  in  a  high  comb 
and  a  little  piece  of  a  shawl.  But 
that's  not  what  I  came  to  talk  about. 
I'm  taking  you  to  a  party  to-night." 

"No  more  parties  for  me !"  Jane 
cried. 

"American  slang  so  soon?"  Polly 
asked  so  pointedly  that  Jane  realized, 
with  a  start,  that  she  had  dropped 
her  role.  "Well,  you'll  like  this  one," 
she  went  on.  "Angie  Clement's  giv- 
ing it,  and  she's  one  of  the  grandest 
people  in  this  town.  Been  in  pictures 
for  years.  Her  mother  calls  up  a 
crowd  about  every  so  often,  and 
people  break  their  necks  to  accept 
their  invitations  to  be  present.  Lots 
of  regular  folks,  who  have  all  kinds 
of  jobs,  or  maybe  none  at  all  at  the 
moment.  Food  at  all  hours — and 
zvhat  food !  Swimming  in  the  pool, 
tennis  near  by,  ping-pong  and  bridge, 
and  what  have  you?  Put  on  the  one 
thing  you  like  best  to  wear,  whether 
it's  a  riding  habit  or  pajamas  or  an 
evening  gown,  and  come  along." 

Carefully  Jane  replied,  despite  her 
enthusiasm.  "I  would  zo  love  to 
come !" 

Polly  nodded. 

"Fine !"  she  said  approvingly.  "I 
said  I'd  bring  you." 

Jane  started  for  the  door,  then 
turned  back. 

"Larry  will  he  here  in  two  days," 
she  announced  shyly. 

Polly  lifted  her  eyebrows. 

"Oh,  yeah?"  Her  voice  was  non- 
committal. "Well,  then,  this  party's 
just  the  place  for  you.  You'll — er — 
you'll  acquire  an  extensive  education 
that  may  do  you  some  good  later  on." 

Jane  ran  off  to  her  own  room,  hut 
stopped  as  she  reached  her  dressing 
table  to  stare  at  her  own  reflection. 
Just  what  had  Polly  meant  by  that? 

TO    BE    CONTINUED. 


Needless  Precaution 

Though  our  girls  are  provided  with  life  preservers,  there   isn't   ■ 

pair  of  brawny  arms  that  wouldn't  circle  them  and  bear  them  to 

safety — preferably  on  a   deserted    island. 

■lif 

V,, 


ithj  M.u-k.iill.  ritilit .  i- 
all  ready  to  topple  into  the 
water,  but  her  confident  smile 
indicates  that  >1k'  knows 
what  will  happen  among  the 
boys. 


ed  such  a  stir 
among  the  sailors 
aboard  a  battleship  that 
her  life  preserver  is  a 
means  of  warding  off 
•iv  arms. 


Bernice  Claire,  c<  n- 
U  r,  flirts  with  a  lift 
pres e  r  »  e  r  large 
enough  to  float  Al- 
bert  Gran,  so  she 
must  !><-•  preparing 
for  company  while 
in  the  water 


M 

J 


C  *  r 


Thelma  Todd,  the  hole  in  the 

ould  fall,  or  per! 

i  Fredric 

'l.ir-i   tli  • 


96 

Continued  from  page  74 
before  a   great   many   people.      That 
was  when  1  began  to  get  the  idea  that 
perhaps  being  an  actress  would  be  a 
fair  substitute  for  being  a  violinist." 

This  birth  of  stage  ambitions  was 
unadulterated  by  the  glamour  the 
theater  has  for  children.  Marlene 
had  seen  no  plays  in  her  life — had 
heard  only  concerts  and  the  opera. 

"When  I  got  back  to  Berlin,  I 
found  out  about  Max  Reinhardt's 
school  of  the  theater.  T  took  'Love 
and  Death'  to  him  and  asked  if  I 
might  read  it  for  him.  He  listened 
and  afterwards  was  kind  enough  to 
encourage  me." 

So  that  is  how  Marlene  became  the 
first  Dietrich  to  go  on  the  stage.  The 
feat  was  accomplished  only  by  the 
stubbornness  of  youthful  determina- 
tion in  the  face  of  parental  disap- 
proval. Her  family,  horrified  that 
their  name  should  become  the  prop- 
erty of  the  theater,  forbade  Marlene 
the  use  of  it.  This  taboo  followed 
their  refusal  to  let  her  go  on  the 
stage  at  all.  The  whole  thing  ended 
in  the  gentle  Marlenc's  becoming  an 
actress  under  her  own  name,  her 
thwarted  family  looking  on  in  despair 
and  displeasure. 

There  followed  two  years  of  the 
usual  struggles  and  discouragements 
that  will  occur  in  the  best-regulated 
careers.  Marlene's  only  comment  on 
this  black  period,  which  would  fur- 
nish other  stars  with  material  for  sev- 
eral sob  stories,  is  "It  was  not  easy." 

But  after  an  apprenticeship  in 
small  parts,  she  finally  attained  to  a 
role  in  the  German  production  of 
"Broadway."  From  this  she  went 
into  a  musical  comedy  and  Berlin  sat 
up  to  take  notice  of  a  beautiful  new 
songstress. 

For  the  next  three  years,  the  Die- 
trich name  appeared  alternately  on 
theater  programs  and  on  the  screen. 
But  by  now  Marlene's  family  were 
beginning  to  feel  a  bit  proud  of  her 
success.  Two  of  Marlene's  pictures 
to  be  released  in  America  were  "I 
Kiss  Your  Hand,  Madame"  and 
"Three  Loves." 

"But  I  didn't  have  very  much  suc- 


Will  Marlene  Top  Greta? 

cess  in  pictures,"  she  said.  "When 
films  were  silent,  they  thought  a  girl 
should  be  very  beautiful  on  the 
screen.  And  my  nose  was  funny  and 
my  mouth  was  too  big.  and  directors 
always  got  annoyed  because  I  couldn't 
open  my  eyes  wide.  But  after  talkies 
came  in,  they  decided  I  might  do 
better,  because  when  players  talk  you 
don't  notice  their  faces  so  much." 

Be  that  as  it  may.  it  is  a  pleasure 
to  notice  Marlene's  face — silent  or 
audible.  And  as  a  matter  of  fact, 
you  can't  help  noticing  it.  Marlene's 
particular  brand  of  magnetism,  which 
has  nothing  to  do  with  sex  appeal  as 
demonstrated  by  our  Miss  Bow,  is 
inescapably  potent.  For  all  her  quiet 
unobtrusiveness,  Marlene's  presence 
is  acutely  felt,  even  in  a  crowded 
room.  She  is  gentle,  completely  with- 
out affectation,  and  rather  shy,  yet 
her  superb  vitality,  both  mental  and 
emotional,  is  the  thing  about  her  one 
remembers  most  vividly. 

Josef  von  Sternberg,  one  of  Para- 
mount's  megaphone  aces,  saw  her  on 
the  stage  during  his  recent  visit  to 
Berlin.  Without  so  much  as  a  test, 
or  any  of  the  customary  preliminaries, 
he  engaged  her  for  the  leading  role 
opposite  Emil  Jannings,  in  "The  Blue 
Angel,"  a  Ufa  picture  which  Von 
Sternberg  filmed  during  his  vacation. 
Revealed  in  this  as  obviously  a  sen- 
sation, Miss  Dietrich  was  signed  by 
Paramount. 

She  had  been  in  Hollywood  three 
months.    How  did  she  like  it? 

"It  is  very  pretty,"  she  said,  in 
tones  she  tried  to  make  hearty.  "Per- 
haps I  haven't  been  so  happy  here  be- 
cause I  haven't  been  working — there's 
been  too  much  time  to  think  about  my 
little  girl  and  my  husband  and  my 
family.  I  am  so  lonely,  I  think  some- 
times I  just  cannot  stand  it  any 
more." 

"But  there  are  a  great  many  of 
your  compatriots  here.  Miss  Dietrich." 

"Yes.  but  you  know  you  don't  like 
people  indiscriminately,  just  because 
they  are  countrymen.  Mr.  von  Stern- 
berg has  been  awfully  kind,  but  I  am 
so  homesick.     I  go  to  a  few  parties, 


but  I  like  gay  people — and  here  they 
just  drink  cocktails  and  never  laugh." 

She  has  a  house  in  Beverly  Hills, 
presided  over  by  her  German  house- 
keeper. She  prefers  living  in  a  house 
to  an  apartment,  but  is  nervous,  hav- 
ing taken  to  heart  the  general  trend 
of  our  newspapers.  Every  night  she 
goes  through  the  house,  locking  and 
relocking  doors  and  windows,  lest 
some  enterprising  gangster,  with  a 
well-filled  revolver,  might  be  lurking 
about. 

Days  prior  to  the  commencement 
of  her  picture  were  spent  principally 
in  writing  long  letters  home. 

"I  write  to  them  every  day  and  I 
wait  for  the  postman  to  come.  Mail 
is  so  terribly  slow  coming  all  that 
distance.  And  now  my  baby  has 
gone  to  the  seashore  for  the  summer 
and  I'm  worried.  I  write  to  her 
nurse  and  my  mother  not  to  forget 
to  watch  her  so  she  doesn't  get  sun- 
burned. She  loves  the  water  and  the 
sun,  and  I'm  so  afraid  she'll  get 
burned  and  be  ill." 

Marlene's  husband  is  a  film  direc- 
tor in  Berlin  and  his  business  pre- 
vented his  accompanying  her  to 
America. 

"And  I  didn't  want  to  bring  my 
baby  to  a  strange  country  and  a 
strange  climate  that  might  not  be 
good   for  her.     But  this  is  terrible. 

"I've  never  been  separated  from  her 
before,  and  I'll  never  do  it  again. 
The  other  day  I  talked  to  her  on  the 
telephone  and  she  was  so  excited  and 
so  sweet." 

Because  of  her  ties  in  Germany, 
Marlene  would  sign  with  Paramount 
only  for  six-month  intervals.  She 
planned  to  return  to  Berlin  for  a  Max 
Reinhardt  production  in  October. 
She  was  marking  off  the  intervening 
days  on  the  calendar.  After  you  see 
"Morocco,"  the  initial  Paramount- 
Dietrich  film,  you  will  be  marking  off 
the  days  until  March,  when  she  comes 
to  America  again.  This  time,  you 
will  be  praying,  with  her  baby  so  that 
she  will  be  more.content  and  stay  for 
good,  thus  providing  us  with  a  new 
star  of  no  little  candle  power. 


PHANTOM  RIVALS 


Oh.  fair  Yvonne  once  smiled  at  me ! 

She  seemed  to  think  I  was  all  right ; 
Our  lives  moved  on  right  merrily 

Until  there  came  one  fatal  night 
W!un  we  went  to  a  movie  show ; 

So  now  I'm  in  an  awful  fix, 
For  she  imagines  I  am  slow 

'Cause  I  can't  love  like  Richard  Dix. 

Sweet  Rose-Marie  once  went  with  me; 

I  was  her  beau  ideal,  she  said: 
But  then  a  show  she  chanced  to  see — 

Xow  she's  another  dream  instead. 


And  when  she  offered  me  the  gate 

She  said,  "We  take  what  fate  may  hand  us 

And  we  must  part  ere  it's  too  late. 
Why  weren't  you  like  Cullen  Landis  ?" 

Ah.  once  I  golfed  with  coy  Aldine; 

I  loved  her,  but  it  was  no  use ;    . 
She  saw  some  one  upon  the  screen 

And  then  of  course  that  cooked  my  goose. 
So  she  just  gently  turned  me  down  ; 

1  ler  manner  now  is  full  of  chills 
And  I'm  the  bluest  man  in  town, 

Because  I'm  not  like  Milton  Sills. 

Blaine  C.  Bigler. 


97 


Through  the  Ages 

Merna    Kennouy    trips    the    light    fantastic    that    you 

may   know   how  the   spirit   of   the  dance   has  always 

claimed   its  votaries. 


Merna  Kennedy, 

.  ballet  dance  i 
the    pro  such 

a<  we  see  on  the  s 
the  !>i^  movie  the- 
aters. 


:< 


7 


Merna    Kennedy,    above,    illustrates    the 
ate  coquetry  of  ante-bellum  days  and, 
•  left,    she    revives 

*W/f  lnc    classic     -dps 


of   old    Greece. 


M  --  Keni  .  gives 

In  r  interpretation  of  NeJl 
Gwyn  in  a  flirtatious  mood, 
probably    with    an    ■ 

isceptibility  of    King 
(  harles    I. 


ft,     :is 

I 
even   with   a   girl's 


danc- 
[erna's 

flash  back 


98 

ii/in  page  87 

eager  for  new  ideas  in  production, 
her  work  never  grows  tiresome.  The 
brilliance  of  her  acting,  the  excellence 
of  her  voice,  the  charm  of  her  man- 
ner, and  the  smartness  of  her  ward- 
robe, all  combine  to  keep  her  a  fa- 
vorite. Gloria  is  still  a  long  way 
from  retirenn 

Lilyan  Tashman  lias  a  unique  claim 
to  popularity.  She  is  becoming  the 
paragon  on  the  screen  thai  she  for- 
merly was  in  private  life.  She  is 
passing  on  her  reputation  for  smart- 
ness to  her  audiences.  ( living  lessons 
in  smartness  via  her  celluloid  roles. 
Women  are  Studying  the  Tashman 
mode,  they  are  cultivating  the  Tash- 
man articulation,  and  concentrating 
on  her  deportment.  This  may  or 
may  not  he  a  good  thing.  It  would 
be  very  nice  if  every  one  were  as  in- 
dividual as  Lilyan.  hut  we  can  imag- 
ine, with  a  smile,  various  persons  we 
know  saying.  "Charmed.  I'm  sure"  in 
the  Tashman  tone,  or  effecting  one  of 
her  brilliant  sartorial  creations. 

Estelle  Taylor  completely  won  her 
stage  audiences  on  her  personal  tour, 
the  audiences  she  had  been  unable  to 
win  through  her  films.  Estelle.  al- 
though she  has  been  a  colorful  figure 
in  Hollywood,  has  never  created 
much  of  an  impression  on  the  screen. 
A  great  deal  of  the  publicity  accorded 
her  has  been  as  the  wife  of  Jack 
Dempsey,  and  she  is  one  of  the  few 
actresses  who  has  not  resented  the 
greater  fame  of  her  husband.  There 
have  been  times,  actually,  when  she 
has  been  announced  in  her  own  films, 
as  Estelle  Taylor  (Mrs.  Jack  Demp- 
sey) or  simply  as  Mrs.  Jack  Demp- 
sey. Only  two  of  her  screen  roles 
stand  out  in  any  way  as  achieve- 
ments. Lucrezia  Borgia,  in  "Don 
Juan."  and  Madame  De  Sylva,  in 
"Where  East  Is  East."  Both  these 
roles,  however,  characterizing  as  they 
did  unscrupulous  women  of  adven- 
ture, were  so  unsympathetic  that 
most  of  the  praise  given  them  was 
elicited  from  critics. 

And  yet,  with  nothing  but  an  ex- 
perimental voice  and  some  bewitching 
gowns,  Estelle  Taylor  ventured  forth. 

Estelle's  popularity  never  reached 
the  heights,  because  she  was  badly 
cast  most  of  the  time.  Her  vivid 
beauty,  marked  by  a  profusion  of 
luxuriant  hair,  full  lips,  and  shad- 
owed eyes,  should  have  been  cast  in 
settings  of  Oriental  richness  and 
tropic  languor,  but  such  was  too  sel- 
dom the  case.  Estelle  was  placed, 
h\  some  one  who  should  have 
known  better,  against  ugly  back- 
grounds in  sordid  stories.  Eor  ex- 
ample, some  brilliant  producer  de- 
cided thai  coal  would  provide  a  fit- 
ting background  for  the  gorgeous 
Estelle;  so  she  was  seen  first  againsl 


What  No  Star  Can  Tell 

the  bleak  atmosphere  of  the  coal 
mines  and,  in  a  picture  immediately 
following,  in  the  stokehole  of  an 
ocean  freighter.  Chalk  up  two  in  the 
name  of  effective  casting!  Estelle 
Taylor,  a  flower  in  the  coal  bin! 

Norma  Shearer,  like  Dorothy  Mac- 
kaill.  is  an  actress  whose  sincerity  has 
endeared  her  to  many.  Whether  the 
graude  dame  or  the  shady  lady, 
Norma  excites  sympathy.  She  plays 
with  a  subtle  unconsciousness  that 
challenges  admiration,  f  f  she  chances 
to  he  the  society  woman,  she  is  more 
charming  than  any  one  else  in  the 
drawing-room,  more  gracious  than 
the  hostess  herself;  if  she  is  of  the 
underworld,  she  is  true  to  her  part- 
ners in  crime.  Her  exquisite  poise 
and  splendid  assurance  proclaim  her 
as  one  of  the  film  ladies  of  refine- 
ment. In  every  one  of  her  roles,  she 
succeeds  in  being  tremendouslv  con- 
vincing; think  back — "The  Trial  of 
Mary  Dugan,"  "The  Last  of  Mrs. 
Cheyney,"  "Their  Own  Desire," 
"The  Divorcee" — parts  radically  dif- 
ferent, but  in  each  of  them  you  were 
with  Norma. 

Renee  Adoree's  career  has  fallen 
so  far  short  of  what  it  should  have, 
that  many  have  wondered  why  this 
wistful  little  player  has  apparently 
failed  in  the  realization  of  her  art. 
In  her  own  life,  every  one  knows 
Renee  Adoree  is  an  unhappy  girl ; 
she  has  known  sorrows  which  have 
shadowed  her  life  and,  unfortunately, 
she  has  allowed  this  depression  to 
creep  into  her  acting,  so  that  few 
roles  could  be  termed  sprightly. 

As  Melisande,  in  "The  Big  Pa- 
rade." and  as  Musette,  in  "La  Bo- 
heme,"  she  gave  her  most  famous  and 
most  sensitive  performances.  Since 
then  her  roles  have  become  less  and 
less  important.  Only  once  or  twice 
has  she  starred,  and  then  in  unim- 
portant films.  Her  last  big  part  was 
opposite  John  Gilbert,  in  "The  Cos- 
sacks." As  for  her  role  in  "The 
Pagan,"  it  was  one  of  the  most  tragic 
things  I  have  ever  seen.  The  part 
was  so  unimportant  that  it  seemed 
a  pathetic  gesture  of  submission. 
Throughout  the  performance,  little 
Renee,  with  tears  in  her  eyes,  seemed 
to  be  saying,  "Can  this  mean  I'm 
really  through  ?"  Then  the  talkies 
brought  new  tribulations  to  the  little 
French  girl,  for  Renee  has  an  accent. 
For  a  while  it  did  seem  that  she  was 
through.     What  will  he  her  fate? 

Renee's  roles  have  never  been  the 
kind  that  would  excite  an  audience. 
Most  of  them  were  touched  by  a 
tearful  poignancy,  a  sorrowful  strain 
that  tended  to  mar  popular  appeal. 
This,  combined  with  a  succession  of 
inferior  roles,  has  parted  Renee  from 
her  puhlic. 


The  Garbo  is  one  of  the  mysteries 
of  Hollywood.  The  majority  of  her 
fans  are  women,  although  there  are 
countless  men  over,  whom  she  exerts 
her  almost  hypnotic  spell.  People 
find  themselves  joining  her  great 
army  of  admirers  who  have  found  a 
sort  of  shrine  in  her  fascination.  I 
have  never  once  heard  a  person  say 
"I  don't  like  Greta  Garbo." 

Greta  Garbo  is  not  a  beautiful 
woman ;  I  say  this  in  direct  opposi- 
tion to  the  fact  that  I  have  included 
her  in  my  list  of  the  six  most  beauti- 
ful !  She  does  not  even  fall  under 
that  label  which  calls  certain  women 
"handsome."  She  is  too  tall,  her 
mouth  is  much  too  wide,  her  carriage 
is  slovenly,  she  is  listless  even  in  her 
portraits.  Yet  people  never  take 
their  eyes  from  the  screen  during  any 
of  a  hundred  Garbo  close-ups.  There- 
fore her  features  must  be — and  are 
— far  more  compelling  than  the  more 
perfect  countenances  of  innumerable 
type  beauties.  Greta  Garbo  photo- 
graphed carelessly  is  almost  ugly ; 
photographed  with  the  enchantment 
of  studio  craft,  the  ugly  duckling  be- 
comes the  swan.  Her  wiles  are  far 
more  alluring  than  the  more  obvious 
ones  of  Naldi  and  De  Putti ;  her 
unlovely  walk  and  her  careless  non- 
chalance far  more  interesting  than 
the  more  studied  gestures  of  the  tea- 
with-lemon  sisterhood.  While  Craw- 
ford, Bow,  Love,  and  Shearer  an- 
swer the  outer  callings  of  the  fan, 
Garbo  responds  with  subtle  power 
to  the  inner  calling.  Hers  is  the 
strange  composite  of  mental  attrac- 
tion expressed  through  a  purely  phys- 
ical medium. 

The  reason  for  the  popularity  of 
Marion  Davies,  of  Bebe  Daniels,  of 
Billie  Dove,  is  obvious.  All  possess 
beauty,  talent,  and  character.  Billie 
Dove  in  particular  is  a  good  example 
of  the  well-balanced  actress.  She  is 
endowed  with  lavish  beauty,  her  per- 
formances never  fail  to  please,  and 
her  charm  and  good  taste  are  mir- 
rored in  her  roles. 

It  is  apparent  that  Betty  Comp- 
son's  face  is  not  sufficient  attraction 
to  hold  the  hearts  of  the  fans.  Some 
time  ago,  when  Betty  ceased  to  take 
her  acting  seriously,  and  relied  upon 
her  looks  to  carry  her  along,  she  ven- 
tured dangerously  near  the  brink  of 
oblivion,  and  her  popularity  waned 
rapidly.  The  Compson  loveliness  is 
not  as  fresh  as  it  once  was,  but  Betty 
keeps  it  heavily  cosmeticized  into  a 
kind  of  appealing  charm. 

Pauline  Starke  never  enjoyed  great 
popularity.  First  the  public  indif- 
ference was  laid  to  the  fact  that  Paul- 
ine had  no  sex  appeal.  To  remedy 
this  shortcoming,  Elinor  Glyn  was 
Continued  on  page  116 


99 


If  at  First  Tfou  Don't  Succeed 

Certain  of  our  gifted  friends  hold  to  that   proverb  when  attempting    the   U86   of   chop   sticks. 


E.   Browr 

>   lack   o: 
in   catin.c  lad    in 

Oriental 

:ind      R:i. 

fairly 
Chi- 
restaurant  in    "At 

David    Manners,     below,     re- 
hii  attempt  to  negotiate 
slippery    >paghetti 
Jcs. 


Lillian  Roth,  above,  finds  that 
the  technique  of  handling  a 
fork  serves  the  purpose  in  CO- 
queting  with  a  howl  of  rice, 
and  realizes  that  it's  fattening 
anyway. 

Jack  Mulhall,  below,  relieves 
Lila  Lee  of  all  i  fforl  in  try- 
ing to  use  chop  stick-,  for  he 
manages  their  chop  suey  very 
well    in   "Murder   Will' Out:' 


100 

Continued   from  pngc  69 

absorbing  from  beginning  to  end. 
What  is  more,  it  reveals  Edmund 
Lowe  in  the  best  performance  he  has 
ever  given,  it  does  as  much  for  Mar- 
guerite Churchill,  and  it  brings  hack 
to  the  screen  an  actor  who  never 
should  have  left  it — Earle  Foxe.  So 
you  see  the  average  of  acting  is  un- 
usually high,  what  with  Ri 
Toomey,  Eddie  Gribbon,  <  )wen 
Davis.  Jr.,  and  Robert  McWade  add- 
ing their  quota.  The  picture  is  really 
a  triumph  for  every  one  concerned. 
Edmund  Lowe  is  a  silk-hatted 
crook  whose  nefarious  doings  arc  un- 
known to  the  girl  who  thinks  she 
loves  him.  One  of  his  spectacular 
exploits  is  the  robbing  of  a  bank  in 
broad  daylight.  His  confederates, 
attired  as  ushers  at  a  wedding,  sum- 
mon the  hank  president  from  his  seat 
in  church,  force  him  to  accompany 
them  to  his  desk  and  order  the  de- 
livery of  a  fortune  in  bonds.  Rut 
when  one  of  the  crooks  trails  the 
girl  and  her  escort  from  a  night  club 
and  tears  from  her  neck  a  jewel  pre- 
sented to  her  by  Mr.  Lowe,  the  wheels 
of  retribution  begin  to  revolve  and 
presently  the  suave  crook  is  shown 
up  to  be  a  thief  who  loses  the  girl  he 
loves  and  his  life  as  well.  In  sum- 
marizing the  picture  it  may  seem  like 
many  others,  but  in  execution  it  is 
brilliantly   exceptional. 

Active   Old  Age. 

Cyril  Maude,  the  English  actor,  has 
played  "Grumpy"  more  than  1400 
times  on  the  stage,  so  he  must  know 
bow.  Therefore  it  isn't  surprising, 
with  the  talkies  what  they  are.  to  find 
Mr.  Maude  giving  his  fourteen  hun- 
dredth and  first  performance  for  you. 
It's  good,  and  bow !  But  it  is  of  the 
stage  and  not  the  screen.  For  me,  I 
enjoyed  the  picture  vastly.  There 
isn't  a  single  "Oh,  yeah"  in  it  and 
it  reeks  of  the  stage  in  its  most  mel- 
low aspects.  But  you  children  of  the 
new  age  may  find  it  quaint  and  too 
slow,  for  I  know  that  you  are  not 
awfully  interested  in  old  men  as 
stars.  Yet,  granting  that  some  one 
more  than  twenty  years  old  reads 
Picture  Play,  I  think  they  will  find 
coziness  in  "Grumpy."  Think  of  be- 
ing a  septuagenarian,  with  Frances 
Dade  and  Phillips  Holmes  interested 
in  your  comfort  and  well-being!  If 
only  all  of  us  could  be  certain  of  such 
a  well-run  household  and  a  romance 
between  such  nice  young  people,  to 
encourage  in  our  old  age! 

Be  thai  as  it  may.  "Grumpy"  Bulli- 
vant,  down  in  the  English  country, 
welcomes  his  nephew  home  from 
South  Africa  and  circumvents  the 
efforts  of  a  crook  to  make  off  with 
diamond  intrusted  to  the  young 
man.  So  help  me,  there  isn't  any 
more,  except  that  Mr.   Maude's  is  an 


The  Screen  in  ReViextf 

interesting  performance  overlaid  with 
detail,  and  Mr.  Holmes  and  Miss 
Dade  are  charming,  competent,  and 
intelligent.  There  is  Paul  Cavanagh, 
too,  as  the  crook  who  makes  love  to 
Miss  Dade,  and  most  surprisingly, 
the  capable  Paul  Lukas  in  a  small 
part. 

Pure   as   the   Driven  Snow. 

Bertha  M.  Clay,  Laura  Jean  Libby, 
and  Charles  Garvicc — if  you  remem- 
ber them,  which,  I  fear  you  don't — 
inspire,  if  they  do  not  actually  write, 
"Our  Blushing  Brides."  For  here 
we  have  an  epic  of  three  shopgirls, 
two  of  whom  go  the  way  of  all  flesh, 
though  the  third  conducts  herself  as 
a  Vere  de  Vere  and  remains  as  un- 
swayed  by  human  frailty  as  an  ice 
maiden.  Her  reward  is  the  wedding 
ring  of  a  millionaire.  It  happens  in 
real  life  every  day,  as  you  must  have 
noticed !  Yet  it's  interesting,  even  if 
you  don't  believe  it.  Interesting  to 
see  how  the  thing  is  dressed  up,  var- 
nished, and  disguised  as  something 
real.  Interesting,  too,  to  see  how 
well  it  is  acted  by  Joan  Crawford, 
Dorothy  Sebastian,  Anita  Page,  Rob- 
ert Mongomery,  and  Raymond  Hac- 
kett.  Interesting  to  wonder  if  they 
believe  it  all,  or  if  it  is  their  artistry 
that  makes  it  look  genuine,  or  if  they 
followed  direction  willy-nilly.  Who 
knows  ? 

Enough  to  say  that  Miss  Crawford 
gives  her  best  performance  since  she 
began  to  attract  attention.  Her  voice 
is  mellow,  her  sense  of  humor  is  ever 
present,  and  her  bantering  dialogue 
with  Mr.  Montgomery  is  the  best 
thing  in  the  picture.  John  Miljan, 
Hedda  Hopper,  Albert  Conti,  and 
Edward  Brophy  lend  their  practiced 
talent  to  minor  roles  and  the  settings 
are  gorgeous.  Too  gorgeous  to  be 
real,  especially  the  floor  space  of  Mr. 
Montgomery's  little  bouse  in  the  tree. 
It  has  everything  but  a  pipe  organ 
and  a  swimming  pool,  though  the  ex- 
terior shows  just  a  shack  perched  on 
a  bough. 

Another  Revival. 
"Manslaughter"?  Oh,  I  don't 
know.  It  was  trash,  though  popular, 
in  1922.  I  believe  it  is  considered  by 
some  to  be  one  of  the  "classics"  of 
the  screen.  Well,  in  the  current 
version,  all  the  "classic"  appeal  is 
present.  Which  means  that  it  is 
thoroughly  moviesque  save  for  the 
acting  of  Claudette  Colbert  and  Fred- 
ric  March,  which  isn't  that  at  all.  It 
is  downright  good.  Only  their  efforts 
spare  "Manslaughter"  the  laughter  it 
would  otherwise  provoke.  For  who 
can  take  seriously  the  plight  of  the 
society  girl  who  is  prosecuted  by  the 
district  attorney  for  reckless  driving 
that  resulted  in  the  death  of  a  traffic 


policeman  ?  And  so  we  find  the  care- 
less, snobbish  girl  sentenced  to  prison 
through  the  conscientious  efforts  of 
the  man  who  loves  her.-  Can  you  bear 
it?  Even  though  he  resigns  his  job 
and  becomes  a  genteel  loafer  through 
the  tortures  of  conscience,  they  are 
brought  together  for  a  life  of  wedded 
bliss.  Often  I  wonder  just  what  the 
married  life  of  couples  previously  at 
odds  with  each  other  must  be.  Does 
neither  bring  up  the  "past"  ?  Or  is  it 
buried  entirely?  Well,  I  don't  trust 
human  nature  in  the  yoke  of  marriage 
to  overlook  anything.  At  any  rate, 
"Manslaughter"  is  well  done,  it  holds 
one's  interest  all  the  way  and  while 
it  may  be  essentially  just  nonsense,  it 
is  overcast  with  the  glamour  of  high 
talent :  Natalie  Moorhead,  Richard 
Tucker,  Emma  Dunn,  and  the  direc- 
tor, George  Abbott,  a  monolith  in  the 
American  theater. 

A  Fellow  of  Infinite  Jest. 
Joe  Cook,  a  favorite  stage  come- 
dian, comes  to  the  screen  in  "Rain  or 
Shine"  and  makes  one  glad  of  it.  He 
is  a  pleasant  fellow,  with  a  brand  of 
humor  all  his  own  and  considerable 
originality.  If  you  know  a  comedian 
when  you  see  one  which  I  don't  al- 
ways pretend  to  do — you  will  recog- 
nize in  Mr.  Cook  all  the  reasons  for 
his  popularity.  It  is  a  circus  story 
that  exploits  him,  a  story  that  is 
neither  better  nor  worse  than  all  the 
romances  of  the  big  tops  that  you 
have  seen.  However,  it  wouldn't 
matter  if  Mr.  Cook  chose  an  under- 
world yarn,  or  even  an  airplane  epic : 
he  would  inject  into  either  that  which 
makes  him  unlike  any  other  comic. 
I'm  sure  you  will  agree  with  me,  be- 
cause he  is  the  whole  show,  or  rather 
bis  humor  pervades  the  sawdust  ring, 
the  burning  tent  and  the  dinner  party 
of  the  so-called  society  people  whose 
son  is  in  love  with  the  girl  who  is 
trying  to  run  the  circus  after  the 
death  of  her  father.  Fill  in  the  blank 
spaces  and  you  will  know  that  Mr. 
Cook  is  her  pal  and  undeclared  sweet- 
heart, and  that  she  realizes  his  honest 
worth  after  the  society  people  have 
turned  her  down.  It  is  all  quite 
simple — pitifully  juvenile,  really — but 
Mr.  Cook  is  neither  simple  nor  juve- 
nile and  Joan  Peers,  that  eloquently 
sincere  ingenue  who  first  made  us  sit 
up  and  take  notice  in  "Applause,"  is 
the  heroine.  William  Collier.  Jr.,  is 
the  scion  of  society  and  Louise  Fa- 
zenda  giggles,  but  not  too  often.  It 
is  Mr.  Cook,  however,  who  is  the 
man  you  can't  forget. 

The  Life  of  the  Ranch. 

"Way  Out  West"  affords  William 
Haines  a  new  environment,  without 
offering  him  as  good  a  picture  as  he 
Continued  on  page  104 


101 


lme 


*^L. 


The  golf  erase   is  going   on  and  on,  until   not   even  the 
top  of  a  costly  head  is  safe  from  being  used  as  a  driving 

mound. 


.  rienced  a  golf 
.mII  see  in  "Follow  Thru,"  to 
n  Zelma  O'Neal. 

But  w>  say  ;i-  much  for  David  Man- 

right,  though  Laura  1  eigh's  smile  indi- 
cates confidence. 


Walter    Tid 
geon,     right, 
■      I    his 
stance  i<  | 
but  the  ' 
perfect,  thanks 
ornelia 
Thaw 


Alexander  Gray,  lower 
left,  tests  Bernice 
Claire's    courage,    and 

Nancy      Carroll,      i 
turns  the  tables  on  Jack 
Haley. 


102 


Information,  Please 


MOVIE  CRAZE  OF  SCRANTON, 
PENNSYLVANIA— So  you're  go- 
ing to  shower  me  with  questions?  Boy, 
where's  that  umbrella?  Zasu  Pitts  was 
born  in  Parsons,  Kansas,  in  1898.  She  is 
five  feet  six,  weighs  115,  and  is  a  blue-eyed 
blonde.  She  is  Mrs.  Tom  Gallery,  and 
their  daughter,  Zasu  Ann,  is  six  years  old. 
Ruth  Roland's  last  three  films  before  her  re- 
tirement were  "Dollar  Down,"  "Where  the 
Worst  Begins,"  "The  Masked  Woman." 
Jacqueline  Logan  was  the  dark-haired  girl 
in  "The  Blood  Ship."  In  "Lights  of  New 
York,"  Eddie  was  played  by  Cullen  Landis. 
Wheeler  Oakman  played  the  Hawk,  and 
Gladys  Brockwell,  now  dead,  played  his 
mistress.  Robert  Elliott  played  the  detec- 
tive and  Tom  McGuire  the  police  chief. 
Shirley  Mason  and  Cullen  Landis  played 
the  leads  in  "Rosie  O'Grady."  The  film 
you  describe,  with  Conrad  Nagel  and 
Myrna  Loy,  was  "State  Street  Sadie." 
Willard  Louis  played  Irene  Rich's  hus- 
band in  "The  Honeymoon  Express."  Vir- 
ginia Lee  Corbin,  Helene  Costello,  and 
Harold  Goodwin  were  the  youngsters.  No 
one  else  is  mentioned  in  the  cast  but  Jason 
Robards,  Helene's  sweetheart.  In  "My 
Best  Girl,"  Carmelita  Geraghty  played 
Mary's  sister. 

Elaine. — Do  I  like  that  name?  Not 
only  do  I  like  it,  but  Tennyson  liked  it  well 
enough  to  write  poetry  about  it.  Lane 
Chandler's  birthday  is  June  4,  Dorothy 
Sebastian's.  April  26th ;  the  others  you  ask 
about  don't  give  theirs.  Ronald  Colman 
gets  his  share  of  pictures  in  the  gallery.  I 
think. 

Skiddy  B. — Any  pleasant  things  you  say 
about  Dick  Arlen  would  make  me  just  a 
yes  man.  Dick  is  thirty-one  and  married 
to  Jobyna  Ralston.  He  is  five  feet  ten, 
weighs  160,  and  has  brown  hair  and  blue 
eyes.     He  began  his  film  career  in  1922. 

E.  A.  R. — Just  lending  an  ear  to  my  an- 
swers, I  suppose.  Ken  Maynard's  horse, 
Tarzan,  is  white.  You'll  soon  see  Nils 
Asther  in  "The  Sea  Bat."  At  last  accounts 
Hugh  Allan  was  playing  in  an  independent 
film  called  "Love  Harmony."  so  perhaps 
lu's  found  his  voice. 

Mr.  Myself,  and  I. — As  usual,  asking 
i|iiesti"ii>  enough  for  three  people.  See 
above.  'Sis.  Fred  Kohler  is  of  German 
nt,  though  he  was  horn  in  Kansas 
(  ity,  Missouri.  Alexander  dray  was  born 
in  Wrightsville,   Pennsylvania,  in  the  late 


'90s.  He  was  on  the  stage  about  six 
years  before  playing  in  films.  His  pictures 
include  "Sally,"  "No,  No,  Nanette,"  "Song 
of  the  Flame,"  and  "Spring  Is  Here." 
Conway  Tcarle  was  born  in  Xew  York  in 
1882.  He  married  Adele  Rowland  about 
ten  years  ago  and  there  are  no  children. 
Conway  has  been  playing  on  the  stage  out 
West.  His  real  name  is  Frederick  Tearle. 
Ricardo  Cortez  was  born  in  Vienna ;  his 
real  name  is  Jake  Krantz.  "Montana 
Moon"  is  his  most  recent  film.  He  married 
Alma  Rubens  on  January  30,  1926.  Wil- 
liam Boyd  married  Elinor  Fair  about  the 
same  time,  and  they  were  divorced  last 
November. 

Charmaine. — Oh,  you  were  Diana 
Whoops — but  now  the  cough  is  gone? 
You  should  be  in  the  testimonial  business. 
Basil  Rathbone  doesn't  give  his  age ;  I 
don't  think  he  has  any  children.  John 
Lodcr  was  born  in  London,  March  1,  1898, 
and  was  once  a  cavalry  officer.  John 
Miljan  was  born  in  Lead  City,  South  Da- 
kota, but  doesn't  say  when.  He  was  once 
on  the  stage  and  began  his  screen  career 
in  1922.  Ivan  Lebedeff  hasn't  been  doing 
much  in  talkies,  since  there  are  only  occa* 
sional  roles  for  his  accent. 

A.  Hall. — Dorothy  Janis'  chances  of 
success  seem  rather  slim  just  now,  but  so 
it  goes.  That  was  her  own  voice  in  "The 
Pagan,"  I  think.  As  to  her  Indian  blood, 
her  biography  merely  says  she  is  of  Chero- 
kee Indian  extraction.  She  was  born  Feb- 
ruary 19,  1910,  and  studied  dancing  and 
voice  culture  before  her  screen  career  be- 
gan. She  was  "discovered"  by  James 
Ryan,  then  casting  director  for  Fox,  and 
given  a  role  in  "Flectwing."  Richard 
Rarthelmess  uses  his  real  name.  He  mar- 
ried Mar)-  Hay  on  June  28,  1920,  and  Jes- 
sica Sargeant  on  April  20,  1928. 

Bloxdy. — So  you're  crazy  to  see  my 
face?  You're  crazy  to  want  to.  Is  Anita 
Page  now  confessing  to  five  feet  six?  I 
fiive  up  ('ii  her  height  until  I  can  get  her 
in  a  corner  with  a  tape  measure.  James 
Hall  is  separated  from  his  wife,  Renee. 
Don  Alvarado  played  in  "The  Bad  One" 
!  nd  is  working  in  Spanish  versions  of  talk- 
Greta  Garbo  is  twenty-five.  Jack 
Mulhall  was  born  at  Wappinirers  Falls, 
New  York,  October  7,  1892.  Buddy  Rog- 
ers' brother.  Bh.  will  be  known  in  the 
movies  as  Bruce.  Warner  Baxter  was 
born  in  Columbus,  Ohio.  March  29,  1891. 
He  is  married  to  Winifred  Brvson.     "This 


Modern  World"  is  his  forthcoming  pic- 
ture. Mary  Brian  was  born  in  Corsicana, 
Texas. 

Marie. — Lawrence  Gray  was  born  in 
San  Francisco,  July  27,  1898.  He  was  in 
the  navy  during  the  War.  He  was  pro- 
duction superintendent  of  a  unit  at  the 
Paramount  studio  when  his  own  film  possi- 
bilities were  noticed.  He  is  a  bachelor. 
Bernice  Claire's  name  is  Jahnegan  and 
she  came  from  Oakland,  California.  Her 
excellent  voice  induced  her  singing  teacher 
to  arrange  an  audition  for  her  in  New 
York,  which  brought  her  the  stage  lead 
in  "The  Desert  Song."  See  Me,  Myself, 
and   I. 

Marilyn  Storm. — As  to  what  Picture 
Play  would  do  without  my  "spicy  an- 
swers," perhaps  some  day  I'll  get  mad  and 
find  out !  Ronald  Colman  played  Carlo 
BuccUini,  in  George  Eliot's  "Romola." 
"The  Dark  Angel"  was  originally  a  stage 
play  by  H.  B.  Trevelyan;  Ronald  Colman 
played  Captain  Trent.  "The  Winning  of 
Barbara  Worth"  was  adapted  by  Frances 
Marion  from  Harold  Bell  Wright's  novel. 
Colman  played  Willard  Holmes.  "Beau 
Geste"  is  a  novel  by  Percival  Christopher 
Wren :  Ronald  played  Michael  Geste  in  the 
photoplay  version.  He  played  Montcro  in 
"The  Night  of  Love,"  w-ritten  for  the 
screen  by  Lenore  Coffee.  "The  Magic 
Flame"  was  made  from  the  play  "King 
Harlequin,"  by  Rudolph  Lothar.  Colman 
was  cast  as  "a  clown."  He  played  Mark 
van  Rycke,  in  "Two  Lovers,"  adapted  by 
Alice  D.  G.  Miller  from  Baroness  Orczy's 
novel,  "Leatherface."  Ronald  had  the  title 
role  in  "Bulldog  Drummond"  from  the 
play  by  "Sapper."  "Condemned"  was  made 
from  Blair  Niles'  novel,  "Condemned  to 
Devil's  Island."  Ronald  played  Michel. 
William  Powell  is  thirty-eight. 

Joax. — So  you'll  remember  me  in  your 
will!  It  would  be  just  my  luck  that  you'd 
have  no  money  to  leave.  Nancy  Carroll 
was  christened  Ann  Veronica  Lafliff.  Sue 
Carol  and  Nick  Stuart  were  married  July 
28,  1929.  There  is  only  one  Nick  Lucas, 
but  there's  also  Paul  Lukas.  Ralph  Forbes 
played  recently  in  "Lady  of  Scandal"  and 
"Inside  the  Lines."  Evelyn  Brent  is  now 
playing  in  RKO  films — "Framed,"  "The 
Silver  Horde."  She  has  brown  eyes;  so 
have  Clara  Bow.  Claudette  Colbert,  Lupe 
Yelez,  Alice  White.  Bebe  Daniels,  Sue 
Carol,  and  dozens  of  others. 

Continued  on  page  119 


103 


On  High  Horses 

These   little   girls   pick   winners,   and   furthermore,  must   be 
the    jockeys,   too. 


Ben  Lyon,  left,  on  his  luck)   days  finds 
kids  who  are  also  in  ■  romping  mood. 


Nice  horsy,  chirps  Martha  1  .«.«.■  Sparks,  right, 
the  little  lady  being  shown  around  the  studio 
I  hark  -    l'\  ans. 


The  cute  youngster  >>n  Gilbert  Roland's 
center,    is    Shirlene    Marquis,    who   pla 
trapper's  daughter  in  "Monsieur  Le  I 


'"Whoa !"    yells    Mitzi    < 

.  as  any  old-time  fan  can 
read  from  her  lips,   when  her 
mount  rolls  a  trickv  eye. 


Bert   W 

■  \sIk-ii  little  Dolon     P 

•■i  play  li"? 


104 

Continued  from  page  18 
in  memory  and  placed  her  in  screen 
history.  To  prolong  her  life  on  the 
screen  .Miss  Swanson  became  a  splen- 
did actress,  as  was  evident  in  "Sadie 
Thompson"    and    "The    Trespasser." 

True.  Gloria  will  live  a  long  time 
in  memory-  -but  memory  soon  fades. 
Who,  to-day,  can  believe  the  furor 
the  great  Adelina  Patti  caused  in  her 
time?  Who,  it  might  he  asked,  knows 
who   Patti  was? 

Who  can  recall  the  great  actors  of 
the  past?  Siddons,  Garrick,  Terry, 
Irving,  Booth,  Mansfield.  Duse.  Bern- 
hardt. Their  names  are  in  stage  his- 
tory— but  names  soon  vanish.  Of 
the  persons  themselves  we  know  lit- 
tle. Even  their  work  is  now  forgot- 
ten. Of  the  many  conspicuous  actors 
in  the  last  hundred  years,  these  few 
names  alone  are  recalled.  WHiat  bet- 
ter fate  can  movie  stars  expect? 


Will  History*  Remember  Tkem? 


What  actor  created  the  role  of 
J  la  mid  in  Shakespeare's  time?  To 
go  farther  hack,  who  knows  the 
names  of  the  great  actors  of  ancient 
Greece  ? 

With  each  generation  dozens  of 
great  artists  appear.  Where  are 
they?    Who  can  recall  them? 

Everything  passes.  Pola  Negri's 
greatest  successes,  "Passion"  and 
"Carmen,"  are  odd  films  to  look  at 
to-day.  Ten  years  ago  they  were 
sensations  and  were  instrumental  in 
bringing  Pola  to  America.  Both  pic- 
tures are  forgotten.  And  the  star 
herself  is  no  longer  in  the  public 
mind. 

History  is  certain  to  mention  the 
early  days  of  picture  making.  The 
first  Vitagraph  stars  were  Florence 
Turner,  Maurice  Costello,  and  Julia 
Swayne  Gordon.     These  players  are 


already  forgotten  by  the  present  pub- 
lic.    How  can  posterity  recall  them? 

There  is  a  creed  in  the  theatrical 
world  which  might  well  be  adopted 
by  players  on  the  screen — "I  am  here 
for  only  a  short  while.  Soon  I  shall 
be  entirely  forgotten.  When  the 
final  curtain  comes  down,  the  greatest 
reward  I  can  receive  is  the  consola- 
tion that  my  work  has  given  at  least 
a  little  brief  happiness  and  comfort 
to  my  fellow  mortals." 

This  may  seem  cold  comfort  to  the 
gifted — but  who  are  they  to  alter  the 
fateful  workings  of  history?  And 
who  is  this  lowdy  scribe  to  make  so 
bold  as  to  encourage  them  in  futile 
hopes?  "Take  the  cash  in  hand"  and 
let  the  favored  few  go  down  in  his- 
tory— for  in  time  they,  also,  will  fade 
from  memory,  and  the  above  creed 
goes  for  them,  too. 


Continued  from  page  100 
deserves.  It  is  entertaining,  though, 
even  if  it  doesn't  reach  a  climax  that 
is  either  satisfactory  or  credible.  But 
it  amuses,  and  as  most  people  ask  for 
nothing  more,  why  croak  about  logic, 
psychology,  and  what  not  ?  I  f  a  man 
has  been  despised  by  the  entire  cast 
for  an  hour,  why  question  the  means 
by  which  he  wins  their  admiration  in 
ten  minutes?  No  one  really  cares  if 
they  have  laughed  at  the  humiliations 
heaped  upon  him,  and  Mr.  Haines  en- 
dures plenty  in  the  course  of  his  ex- 
istence in  this  picture. 

Beginning  as  a  side-show  barker, 
he  is  detected  by  a  group  of  cowboys 
in  his  manipulation  of  a  roulette 
wheel  and  taken  to  a  ranch  to  work 
out  the  amount  they  have  lost.  They 
treat  him  as  dirt  beneath  their  feet, 
but  Windy  always  rises  with  a  wise- 
crack— even  when  the  ranch  owner,  a 
charming  girl,  adds  her  insults  to 
those  of  the  others.  But  when 
Windy  is  clearing  out  he  is  called 
back  by  the  screams  of  Molly,  who 
has  been  bitten  by  a  snake.  His  res- 
cue is  entirely  expert — so  much  so, 
in  fact,  that  one  wonders  where  a 
side-show  man  acquired  his  knowl- 
edge and  resourcefulness  in  dealing 
with  rattlesnakes.  But  it  brings  the 
picture  to  a  rather  exciting  conclu- 
sion, what  with  a  sand  storm,  gun 
play,  and  an  avowal  of  love  from 
Molly. 

Mr.  Haines  is  entirely  himself  as 
Windy,  which  is  to  say  that  he  is 
boisterous,  likable,  and  in  serious 
moments  convincing.  Leila  Hyams 
is  all  right  as  the  heroine,  and  Polly 
Moran  is  vigorously  engaging  as  the 
cook.  The  ranch  men  are  Francis  X. 
hman,  Jr..  Jack  Pennick,  Buddy 
Roosevell — once     a     star — and     Cliff 


The  Screen  in  ReViev? 

Edwards,  who  contributes  a  real  char- 
acter as  Trilby. 

Pity  Poor  Father! 
Mother  love  has  certainly  had  its 
innings  on  the  screen,  though  father 
love  has  not.  As  if  to  make  up  for 
lost  opportunities,  "Sins  of  the  Chil- 
dren" comes  along  to  glorify  father- 
hood to  the  extent  of  showing  what 
a  bad  deal  is  handed  to  a  parent 
whose  entire  life  is  given  to  sacrific- 
ing himself  to  his  progeny.  He  is 
Adolf  Wagcnkampf,  a  barber,  whose 
parenthood  fills  him  with  such  joy 
that  he  isn't  content  with  being  a 
father,  but  must  take  on  the  duties  of 
a  mother,  too.  Thus  we  see  him 
fussing  about  the  humble  household 
with  the  children  in  the  manner  of 
Emil  Jannings,  in  "The  Way  of  All 
Flesh,"  while  mutter  is  kept  in  the 
background.  But  father  fares  none 
too  well  at  that,  for  when  the  children 
grow  up  they  visit  upon  him  all  the 
woes  that  fatherhood  is  heir  to — es- 
pecially when  father  is  played  by  a 
stage  actor  who  brooks  no  interfer- 
ence with  his  right  to  the  spotlight 
while  tears  trickle  and  trust  is  be- 
trayed. Tt  is  hardly  necessary  to 
identify  this  as  a  hokum  melodrama 
which  instead  of  being  human,  is 
merely  amusing  because  it  is  so  over- 
done. However,  I've  heard  no  pro- 
tests, so  it  must  be  all  right.  Still, 
there  must  be  some  who  are  amused 
in  the  wrong  places,  as  I  was.  Louis 
Mann,  of  the  stage,  makes  his  film 
debut  as  the  father,  apparently  deter- 
mined to  perform  in  one  picture 
every  trick  employed  in  a  lifetime 
before  the  footlights.  He  is  sup- 
ported in  his  tribulations  by  Robert 
Montgomery,    Elliott    Nugent,    Leila 


Hyams,  Mary  Doran,  and  Francis  X. 
Bushman,  Jr.,  to  mention  the  princi- 
pal causes  of  his  suffering. 

Blindfolded. 

Granting  that  Harold  Bell  Wright 
is  your  literary  idol,  I  suppose  you 
will  find  a  meaning  to  "The  Eyes  of 
the  World."  Otherwise  I  can  con- 
ceive of  no  one  regarding  it  as  any- 
thing but  a  funny  curiosity.  "You 
swine!"  cries  the  villainess,  "I'll  ruin 
you  if  it  takes  all  my  life!"  It  is  in 
this  mood  that  the  plotty  story  is 
pitched,  with  acting  that  matches  it. 
After  a  prologue  in  which  a  hus- 
band's discarded  mistress  throws  acid 
in  his  young  wife's  face,  the  latter's 
daughter  appears  as  an  innocent 
nymph  of  the  hills  who  attracts  the 
attention  of  a  group  of  wicked  city 
folks.  Among  them  is  an  artist,  a 
character  that  always  typifies  the  evils 
of  a  loose  life  in  stories  with  this 
old-fashioned  viewpoint.  His  atten- 
tions to  little  Sybil  enrage  Mrs.  Ger- 
trude Tame  to  the  extent  of  causing 
her  to  hurl  at  the  artist  the  epithet 
dealing  with  pork.  There's  a  jumble 
of  platitudes,  of  shocked  innocence 
and,  at  the  last,  gun  play  which  pre- 
cipitates the  girl  into  the  hero's  sud- 
denly worthy  embrace. 

I  could  make  neither  head  nor  tail 
of  it,  the  characters'  confused  mo- 
tives, or  just  what  reason  lay  behind 
making  a  picture  of  all  this  except, 
of  course,  a  desperate'  hope  that  the 
author's  readers  would  rally  to  the 
lure  of  his  name.  Perhaps  they  will 
find  meanings  hidden  from  the  lay- 
man. Una  Merkel,  Fern  Andra, 
Nance  O'Neil,  John  Holland,  and 
Hugh  Huntley  are  the  principals, 
poor  dears. 


it's   Smart   to   be   Thrifty 
itinucd   from  pagi    23 

fa  Swanson  or   Lilyan  Tashraan, 

the    simple    good    taste    of    youth 

rize      Kan's     clothes,     which 

the  kind  you  and  I  might  buy  in 

<>ur  home  towns. 

Another     youngster     who     knows 

whereof  she  -peaks  is   Dorothy   For- 

to  look  as  smart 

is   (      stance    Bennett   on  a   fraction 

what  the  latter  spends. 

'I'm   very   particular  about   . 

Dorothy    -aid    emphatically, 
in    these    days    most    of 
Jrls    wear    our    clothes    righl 
through    the    year.      So    the    actual 
•     -  aren't  such  an  expense. 
*'Hut  it's  by  being  very  careful  in 
-     -  the  i  \ •-  is  :'  ..:  1  keep  within 
the  limits  i>i  my  clothes  allowanc 

"I  low   lots        hats  ami  shoes — lint 

I  very  seldom  indulge  my  whims  for 

v   or   silk   hats.      Because    felt    is 

inch  more  serviceable.     It  can  be 

worn  in  l>oth  winter  and  summer. 

"Dainty  satin  slippers  are  another 

temptation,   hut    kid  :e   more 

tical.     And  th<  y  are  really  smarter 

than  th<  :e  fabric  ones  which 

hire  irtravagance. 

me  to  be  a  [ 
to  buy  '  match  your  si 

.  Leather  bags  don't 
wear  out  like  silk  one-,  and  they  keep 
their  shape,  besides.     Which   is  an- 
y." 
Not  only  are  Jean  and  Dorothy 

[  ue.    Loretta  Young, 

g  the   modern  cr 

thrifty." 

•   that  the  radical  change  from 

about   com- 

to  plan  on  wearing 

for     many 

months  t<.  come,"   is  !.•  pin- 

ith  the  mode  established, 

'.now   where   our   waistlines   are, 

ur  skirts  should  he.  and  where 

■     us) 

le  from  the  fact  that  it's  fool- 
ish to  put  money  into  clothes  which 
can  be  worn  only  a  few  weeks.  I  hon- 
wear  my  things  a  good 
while.  If  I'm  particularly  fond  of 
an  outfit,  T  dread  to  see  it  wear  out." 
Which  is  a  m  mplary  way 

young  wife  We  a!  v. 

knew    Grant    Wither-    was    a    lucky 
man. 

n  that   mo''  nrr  matron. 

Norma     Shearer.  the 

■    of   making  her   clothe 
lon^  tin:  'ias  her  own 

particular  reason   for  so  doing. 

''I    have    so    little    time   to    shop." 
she  told  me.  "that  I   find  it  easier  to 
buy  as  much  as  I  can  at  one  time,  and 
•  my  mind, 
•irrucd  r,n  pasrc  114 


~Now... 

try  Kleenex 

for  Handkerchiefs 

It  is  softer,  more  hygienic, 
[deal  for  i-olds,  hay  fever. 


YOU  know    what  Kleenex  Tissues  .ire  .  .  .  thow 
soft,   dainty   tissues   that   smart   and   beautiful 
women  are  using  to  remove  cold  cream. 

But  did  you  know  that  Kleenex  is  rapidly  replac- 
ing handkerchiefs  among  progressive  people? 
Kleenex  is  so  much  more  sanitary.  You  use  it  just 

once,  then  discard  it.  Cold  germs  are  discarded  too, 
instead  ot  being  earned  about  in  an  unsanitary  hand- 
kerchief, to  reinfect  the  user  and  infect  others. 

And  Kleenex  is  infinitely  more  comfortable.  Every 
tissue  that  touches  your  face  is  soft,  dry,  gentle  and 
absorbent. 

Kleenex  is  the  size  of  a  handkerchief.  It's  very 
soft,  bach  tissue  comes  from  the  box  immaculately 
clean  and  fresh. 

You  can  buy  Kleenex  in  a  large  or  small  size  pack- 
age at  any  drug,  dry  goods  or  department  store. 

The   coupon    below   will    bring   you  a  generous 

sample,  absolutely  free.    . 

Kleenex  Company,  Chicago,  Illinois. 


lo; 


OFFIC1     WORKERS 

Kleenex  inutluMi   f"i 
kerchit  /.,  for  applying 
ut>.  lor  towels,  .m.l  for  n 
lug   creams    .;//<»■  tht   daytime 

ing  treatment* 
("'ill'!  :,!.!  have. 


MOTHERS  have  discox 
ih.it  Kleenex  makes  Perfect 
handkerchiefs  for  children. 
W  at  if  it's  lost?  ...  tin  co'! 
is  not  north  figuring.  And 
think — no  more  washing  of 
grimy  little  handkerchiefs. 


9 


f 


FOR  COLDS  AND  HAY 

rn\T:R.  Other  people  appieci- 
a! e  your  use  of  Kleenex  during 
colds  in  Head  of  the  germ- filled 
handkerchief,  uhich  is  a  men- 
ace to  tho'e  about  ; 


Kleenex  comet  in  white,  and  in 
three  lot  el)  tint'.  Colors  are  guar- 
anteed safe  and  pure. 


FREE  TRIAL  PACKAGE 


I      I  CPANY,  Lake-Michigan  BIdg., 
Chicago,  Illinois. 

me  a  trial  supply  of  Kleenex  free 

of  charge. 

Same 


Slate 


106 

Continued  from  page  21 

Norma  has  two  more  pictures  to 
make  on  her  contract  for  United 
Artists.  "1  think  it  will  be  about 
time  to  retire  from  the  screen  then," 
she  declared  gayly.  "That's  one  mis- 
take 1  don't  want  to  make,  to  stay  on 
too  long.  It  isn'l  at  all  in  accordance 
with  my  belief  that  one  should  try  to 
hang  on  when  one  isn't  wanted. 

"1  would  always  desire  to  do  some- 
thing, though.  You  know  that  there 
is  nothing  truer  than  that  pleasure  is 
harder  to  find  than  work,  and  I  would 
be  afraid  of  vacationing  permanently. 

"Above  all  things,  it  would  he  hor- 
rible  to  he  bored — to  lack  interest.  I 
read  a  hook  called  'Two  Thousand 
Years  Old'  not  long  ago,  about  the 
Wandering  Jew.  his  ennui  with  life, 
the  pathos  of  seeing  people  all  around 
growing  old  and  dying,  nothing  pos- 
sessing a  fascination  or  a  thrill  any 
more,  because  he  had  seen  and  knew 
it  all.  That  would  he  ghastly.  There 
is  really  no  tragedy  in  death  under 
those  circumstances.  It  would  he  a 
solace. 

"I  have  always  desired  to  live  really 
and  vibrantly,  to  have  experiences. 
They  are  the  things  that  count.  But 
they  do  take  the  emotion  out  of  us." 

At  heart  Norma  is  the  vibrant  girl 
that  she  has  always  been,  and  her 
personality,   for  all  that  it  has  been 


At  trie  Turn  of  trie  Road 

affected  by  events,  remains  much  the 
same,  once  her  enthusiasm  is  redis- 
covered.  When  1  first  knew  her- 
some  fourteen  years  ago,  it  was  a 
bubbling  exuberance  that  showed  im- 
mediately on  the  surface  of  her  be- 
ing, and  was  displayed  on  every  oc- 
'ii.  She  lived  with  a  terrific  in- 
tensity, wholly  on  the  surface. 

Of  late  years  she  has  become  more 
reserved;  hut  it  is  not  with  the  stately 
reserve  cultivated  by  some  stars.  It 
is  a  natural  quality  built  up  by  ex- 
perience. Doubtless,  too,  Norma  has 
had  her  share  of  hurts  and  disap- 
pointments through  the  years,  because 
she  was  far  more  susceptible  to  hurts 
and  to  disappointments  than  most 
people. 

She  has  learned  to  seek  far  deeper 
for  values,  and  necessarily  has  built 
up  an  outward  shell  of  protection. 
But  always  and  ever  she  is  herself, 
and  admirable  indeed  is  the  loyalty 
that  she  always  exhibits  to  those 
whom  she  loves  or  admires. 

Like  many  players,  she  has  found 
talking  pictures  a  new  stimulus. 
"They  are  more  difficult  to  make 
than  the  silent  films,  but  I  am  much 
more  interested  in  pictures  than  I 
was  a  year  or  so  ago,"  she  said.  "I 
believe,  too,  that  'Du  Barry'  will  be 
of  benefit  to  me.     At  least  it  is  hu- 


man and  at  the  same  time  a  very 
dramatic  role.  It  is  a  real  character 
to  play. 

"I  was  disappointed,  needless  to 
say,  in  'New  York  Nights.'  I  never 
should  have  done  that  production,  or 
appeared  in  that  particular  role.  It 
is  compensating  to  know  that  the  crit- 
ics and  the  public  in  so  many  in- 
stances approved  of  my  voice. 

"What  a  changed  world  Hollywood 
is  now !  I  look  out  of  the  window  of 
this  bungalow,  and  see  a  group  of 
people  standing  talking  on  the  side- 
walk, and  I  don't  recognize  one  of 
them.  'Who  are  those  people  any- 
way?' I  often  say.  'Am  /  in  the 
movies,  or  are  they?'  " 

But  Norma  to-day  is  very  much 
in  the  films.  Inexpedient  as  it  may 
have  been  for  her,  "New  York 
Nights"  showed  that  she  had  a  voice 
that  would  qualify  her  for  the  con- 
tinuance of  her  career.  She  may 
even  prove  to  be  one  of  the  brightest 
stars  of  the  audible  films.  She  has 
the  character,  the  vitality,  and  when 
one  scratches  the  surface  of  self-con- 
tainment and  repression,  the  magnifi- 
cent enthusiasm  that  has  already  car- 
ried her  far,  and  that  will  unquestion- 
ably carry  her  along  the  brilliant 
cinema  highway.  Above  all,  she  is 
a  wonderful  woman. 


Continued  from  page  47 
He  is  depending  upon  a  part  which 
is  being  especially  written  for  him  in 
"Dancing  Mothers"  to  sell  him  to 
the  public.  He  doesn't  seem  to  know- 
that  the  sale  has  already  been  rung 

He  is  beginning  to  pay  more  at- 
tention to  his  fan  mail,  which  he  says 
was  so  small — two  hundred  letters  a 
month — before  "Devil's  Holiday"  that 
he  didn't  want  to  remind  the  office 
force  of  it  by  asking  to  see  it. 

Phil  is  one  of  the  few  actors  who 
follows  his  fellow  players'  careers 
with  genuine  interest.     He  spoke  bit- 


Out  of  an  English  NoVel 


terly  of  the  bad  breaks  Morgan  Far- 
ley has  had  since  coming  out  here. 

On  the  other  hand,  he  doesn't  gush 
about  what  a  happy  family  they  are. 
There    are    many    players    whom    he 


testation  'of   "purity,"  the  most  ab- 
surd gesture  a  man  could  make. 

The  publicity  department  which 
has  successfully  sold  Buddy  Rogers 
to  the  world  as  being  purer  than  Gala- 


doesn't  particularly  fancy.   He  doesn't    bad,  and  almost  as  pure  as  Ramon 


indulge  in  gossip  or  verbal  criticism 
of  them,  however.  He  impersonates 
them.  He  is  a  clever  mimic  and  if 
his  victims  could  see  him  imitating 
them  they  would  get  a  rude  shock. 

If  Phil  possesses  any  of  the  duller 
virtues  like  chastity  or  modesty,  he 
keeps  the  fact  to  himself.  He  thinks 
a  declaration  of  idealism,  or  a  pro- 


Novarro,  will  find  it  rather  difficult 
to  groom  Phil  as  his  successor.  His 
sense  of  the  ridiculous  is  too  keen. 

He  will  mean  a  great  deal  to  the 
screen  and  to  the  fans,  this  Phillips 
R.  Holmes,  but  even  if  he  were  noth- 
ing else,  he'd  be  a  cultural  influence. 
Fifteen  minutes  after  meeting  him  I 
had  developed  an  English  accent. 


r    *j       a  t  k   HOV? 

Continued  from  page  25 

"Then  T  began  to  study  the  host- 
esses at  dinners  and  dances  I  went  to, 
to  see  at  whose  houses  people  en- 
joyed themselves  and  when  I  found 
that  out.  I  analyzed  the  successful  af- 
fair^ to  see  what  had  made  them  suc- 
cessful  and  the  borosome  ones  to  find 
out  why  they  had  bored  the  guests. 

"T  discovered  that  in  nine  cases  out 
of  ten  it  was  just  knowing  how  to 
group  your  guests.  Tf  you  have  a 
large  party  you  throw  people  together 
who  have  similar  interests,  and  if  it's 
a  small  one,  you  invite  people  who 
are    congenial.      You    don't    invite    a 


Lilian  Went  Sophisticated 


person  to  a  small  affair  just  because 
she  happens  to  be  a  friend,  no  matter 
how  much  you  may  like  her,  if  she 
doesn't  fit  in  with  the  rest  of  your 
guests." 

"Could  that  be  the  reason,"  I  won- 
dered, "I'm  so  seldom  asked  to  your 
soirees?  Should  I  subscribe  for 
Vanity  Fair,  or  would  you  advise  me 
to  take  a  course  in  'how  to  be  the 
life  of  the  party  in  ten  lessons'?" 

"I'd  advise  you  to  subside  if  you 
want  this  story.  There's  too  much 
wrong  with  you  for  anything  to  make 


much  difference — no  matter  what  you 
studied." 

"All  right,  proceed.  We've  got 
you  dressed  properly  after  several 
years,  and  you  know^  whom  to  invite 
and  when.  What's  next  in  this  course 
of  sophistication?" 

"Having  got  your,  guests  together, 
you  must  know  how  to  entertain 
them  and  how  to  plan  your  dinner. 
I  studied  menus  and  diets  until  I 
could  plan  a  perfectly  balanced  meal. 
If  T  have  a  heavy  soup,  I  have  a  light 
dessert,  and  if  I  have  a  starchy  vege- 
table. I  don't  have  a  starchy  dessert, 


107 


etera.    1  haunted,  and  still  d< 
the  novelty   shops   in  town,   so  that 
when  1  entertain  1  have  the  newest 
and  smartest   favors." 

"It  may  be  so,"  1  argued,  "but  the 
only  thii  ever  favor  me  with 

I  then,"  she  continued,  "1  re- 

alizi  had  to  be  conversation, 

whether  it  «  table,  in  the  ball- 

i,  or  at  bridg  crowd  I  was 

taking  pi      -      So  1  began  studying 

.  all  kinds — travel,  adventure, 

furniture,     period 

literature* — so  that  1  could  talk  on  any 

subject  that  might  he  brought  up. 

"I    read    Emily    Post    ami    every 

other  book  on  etiquette  T  could  find, 

anil  read  them  openly  and  unashamed, 

!  to  know  the  proper 

thing  to  do  and  the  right  thing  to  say. 

"And    there    were    two    thii 

One  is  that   your  true    - 
phisticate  is  as  much  at  her  i    - 

-  as  a  hostess  She 
realizes  that  it  is  not  fair  to  let  the 
entire  burden  of  entertainment  rest 
on  the  h  ind  she  keeps  up  her 

I 
'"And   the  hardest   thing  of   all  to 
learn  was  not  to  he  awed  by  people 
— and  places.     I  am  naturally  shy  and 
timid,  and  it  took  years  before  I  could 
train  myself   not    to   stutter   and   he- 
come  tongue-tied  when  I  met  a  promi- 
or  an  extremely  intelli- 
ne,  and  to  realize  that   I   was 
holding  up  my  end 
tion.      Many    p 
mistake  my  assurance  for  conceit,  hut 
m't  that:  it  is  simply  a  realization 
of  my  assets  and  complete  confidence 
in  them. 
"As  far  as  places  go.  most  people 
themselves  away  when  they  walk 
into  a  pretentious  place  by   their  at- 
titude.    The  most  casual  onlooker  can 
tell   by    their    ill-at-ea<enc-s    and    the 
way  they  ruhher  around  that  they  are 
not  accustomed  to  frequenting  places 
of  the  sort.     No  matter  where  I  go  I 
try  to  appear  as  though   T   wen 

ing  there  every  night 
ry  life,  and  as  though  the  place 
i  proper  background  for  me. 
-   all   this   sound   conceited   to 

"Conceited?"    I    echoed.      "Not    at 

all!    M  -minded  look  was  due 

to  nothing  more  than  wondering  how 

•ackle  the  job  of 
making  a  sophisticate  of  me.     What 

"I  think  the  interview  had  come  to 
al  and 

that    la«t   crack   of 
you  like  m; 

she  added 
!  mann< 
-.ed  in  a 
• 


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He  Said  He'd 
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THEN  ho  met  this  girl.  She 
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Lupe   Denies  All 

Continued   from  page  34 


shivered  in  her  purple  beach  pajamas. 
Fiery  Lupe  has  Garbo's  peculiarly 
anaemic  temperament  that  calls  for  a 
high  degree  of  external  warmth. 

I  wish  that  all  Lupe's  fans  might 
5i  e  her  hair  when  the  rays  of  the  sun 
flood  the  luxuriant,  red-black  mass 
with  a  million  gleaming  tones.  It  is  a 
inatingly  beautiful  sight.  So  thick 
and  wavy  does  it  grow  that  it  is  nec- 
essary to  cut  it  out  in  handfuls  that 
she  may  wear  a  hat.  Certainly  there 
is  no  more  picturesque  actress  in  Hol- 
ly wot  id  than  Lupe  Velez,  with  her 
rich  coloring  and  bright,  almond- 
shaped  eyes. 

I  am  convinced  that  the  devil-may- 
care  reputation  with  which  Lupe  has 
saddled  herself  is  the  result  of  a  mis- 
take which  is  frequently  made  by 
Latin  women  when  coming  to  Amer- 
ica. Many  of  them  have  been  brought 
up  under  the  strict  protection  of  a 
chaperon,  and  the  freedom  which 
American  women  enjoy — and  know 
how  to  use  discreetly — so  exhilarates 
their  gay,  electric  spirits  that  they  oc- 
casionally go  to  innocent  excesses.  It 
is  the  same  principle  that  leads  prohi- 
bition-bound Americans  to  make  fools 
of  themselves  at  foreign  bars. 

I  had  with  me  a  current  issue  of 
Picture  Play  which  Lupe  perused 
with  interest. 

"I  always  read  the  fan  letters  first," 
said  she,  "and  when  I  find  a  letter 
defending  me,  or  saying  nice  things 
about  me,  it  makes  me  so  happy  I 
want  to  kiss  that  fan.  I  would  write 
and  tell  him  how  much  I  appreciate 
it,  but  I  do  have  such  a  terrible  time 
with  my  letters." 

Lupe's  letter  writing  is,  indeed, 
something  to  consider.  During  the 
past  two  years  she  has  written  but 
one  letter,  and  that  required  a  whole 
day.  There  were  several  other  at- 
tempts, but  after  long  periods  of  la- 
bor the  effusions  always  reached  a 
state  where  not  even  the  writer  could 
make  head  or  tail  of  them. 

She  read  aloud  from  "What  the 
Fans  Think"  such  letters  as  pertained 
to  herself.  Lupe's  English  is  improv- 
ing and  she  reads  with  ease  and  un- 
derstanding. 

"Who  gives  me  my  bread  and  but- 
ter?" she  asked.  (She  should  have 
said  lobster  and  avocado.)  "The 
fans,"   she  answered   loyally.      "I  am 


so  grateful  to  them  for  going  to  see 
my  pictures,  paying  their  quarters 
and  half  dollars  and  seventy-five 
cents,  that  I  would  do  anything  to 
please  them.  I  wish  that  you  would 
tell  them,  my  fans  and  all  the  writers 
who  have  said  nice  things  about  me, 
that  they  make  me  very  happy  and  I 
would  like  to  hug  them." 

The  information  is  hereby  broad- 
cast and  the  line  forms  on  the  right. 

As  I  am  naturally  lacking  in  origi- 
nality, I  could  not  resist  asking  a 
threadbare  question  about  a  certain 
gringo  actor  whose  name  has  become 
synonymous  with  that  of  the  little 
Mexican. 

"You  may  say  that  I  think  Gary 
is  a  wonderful  man."  she  replied  with 
dignity,  "but  if  I  am  engaged  to  him 
I  wish  some  one  would  come  and  tell 
me.  It  is  right  that  I  should  know, 
and  I  will  find  out,  anyway,  if  it  is 
true,  but  I  wish  some  one  would  tell 
me  now." 

Evidently  those  headlines,  those 
fervent  kisses,  those  ardent  declara- 
tions, those  ear  bitings,  were  merely 
demonstrations  of  international  fra- 
ternity. We  were  a  bunch  of  sillies 
ever  to  have  taken  the  affair  seriously, 
anyway,  since  we  have  had  previous 
evidence  of  Mr.  Cooper's  hectic  but 
futile  romances.  Cool,  silent.  Gary 
wears  his  romances  like  a  bright 
boutonniere. 

Lupe  Velez's  potentialities  as  an 
actress  have  been  barely  touched,  and 
the  screen  is  enriched  by  her  pres- 
ence. She  is  beginning  to  register 
protests  against  the  cute  madcaps  she 
has  played  so  often  and  is  anxious  to 
do  more  mature  roles.  At  present 
she  is  enthusiastic  over  the  heroine 
of  "Wild  Orchard."  and  would  like 
to  depict  her  on  the  screen.  This 
would  be  a  splendid  role  for  Lupe. 
one  that  would  advance  not  only  the 
career  of  the  actress,  but,  if  well 
produced,  the  artistic  standing  of  the 
screen. 

But  what's  the  use?  If  this  tragic 
Portuguese  girl  of  the  California 
fruit  farms  were  brought  to  the 
screen  her  morals  would  be  bleached, 
her  surroundings  cleaned  up,  and  the 
storv  warped  to  the  conventional 
mold.  In  the  long  run.  Lupe  would 
find  herself  portraying  another  pretty 
madcap.     Too  bad ! 


GARY 
To  those  who  work  from  nine  to  five, 
He  is  the  old  West,  young,  alive  : 
The  pungent  breath  of  the  sage  at  noon; 
Shadow  of  buttes  :  a  prairie  moon. 

Rtth  Putnam  Kimball. 


109 


Hollywood  High  Lights 

Continued  from  pagt   5J 


thought  fully  having  a  birthday    light 

then,  and  of  course  the  theater  had 

lelhing  in  honor  of  the  event. 

Therefore  ever}  lady  in  the  audience 
given  a  gardenia  cors 
We  understand  that  thi>  thought- 
ful  -  n  came   from  Ann   her- 

A  particularly  large  tribute  of  ap- 
plause went  to  Ann  herself  and  to 
Mom  who    played    the 

brother  in  the  film.  .Mary  Astor, 
rt  Anus,  and  others  shared  in 
the  loud  approval.  And  everything 
pointed  to  the  fact  that  Ann  had  made 
a  distinct  hit  as  a  star,  while  her  pic- 
ture  was  grandly   welcomed. 

Weird  Tales   Circulate. 

It's  a  curious  thing   how   any   sen- 

nal  happening  in  Hollywood  will 

start  the  rumors  going.     Right  after 

Lina  Basquette  attempted  suicide,  re- 

-    sprang   up   that    two   or   three 

other     a  were     seeking     the 

:'  unhappy  li 

f    the    most     fantastic    and 
widest  spread  of  the  rumors  pertained 
•  nor.     It   traveled   like  a 
prairie  blaze  all  over  the  colony  dur- 
evening,   and   caused   a 
wild  ch.v  e  made  on  the  Gay- 

nor  home   at   the   beach   by   various 
nev.  -  trying  to  verify  it. 

All  the  time,   it  turned  out,    .V 
Gaynor  was  at  a   symphony   concert 
at  the  Hollywood  Bowl,  blithely  en- 
joying that  event,  and  unconscious  of 
how  excited  i  ly  was  about  her. 

.  Janet's  affairs  really  are  in  better 
shape  now,  as  regards  her  contract 
with  Fox.  than  they  have  been  for 
many  months,  and  she  has  every  rea- 
son to  be  happy  on  this  account.  The 
next  picture  she  will  appear  in  will  he 
-The  .Man  Who  Came  Back." 

Great  Acting  Assured. 
G<  Arliss  is 

to  continue  right  on  with  his  film  ca- 
— perhaps    indefinitely.      Warner 
-  have  him  scheduled  to  make 
"The  Devil"  during  this  fall,  and  fol- 
•i£  that  he  will  star  in  "The  Rul- 
Both    pictUT 
by  him  in  the  silents,  hut  not 
illy  then.      Mai: 
however,  liked  "The 
— the  hum..-  gas- 

ion  pro- 

film  "I  lish,"  which 

him  to  the  finer 

-ization  than 

A  First  Lady  of  Stage. 
Mi  rick  Can  ■  her 

grand  ok! -timer  of  tl 
been    re-iding    late!; 


Her  debut  will  he  made  in  "The  Play 

Called  Life,"  a  Fox  picture.     I '• 

who    have    followed    the    theater    for 

-  will  recall  her  for  her  triumphs 

in  many  Shaw  and  Pinero  plays.   She 

hasn't  toured  America  now  for  . 
than  a  dozen  years.  Her  home  i-*  in 
England,  hut  like  many  others,  she 
was  attracted  to  the  film  colony  by 
the  glamour — whatever  that  may 
mean  in  this  case — of  the  talkies. 

Mike  Experience  Aids. 

Radio  stars  seem  to  he  having  their 
day  in  movieland.  One  of  the  new  - 
to  arrive  is  Margaret  Shilling, 
who  broadcast  each  week  over  a  na- 
tion-wide hook-up  of  stations.  She 
was  known  as  the  RKO  radio  girl. 
which  reminds  one  of  the  good  old 
times,  long  gone,  when  picture  Si 
themselves  were  referred  to  as  the 
Biograph  girl,  or  the  Vitagraph  girl. 

Miss  Shilling's  first  picture  is 
"Children  of  Dreams."  Sigmund 
Romberg  secured  her  for  this  produc- 
tion— he  being  the  composer — be- 
cause she  had  pleased  in  the  lead  of 
his  stage  piece.  "My  Maryland."  as 
well  as  because  of  her  radio  qualifica- 
tions. 

Miss  Shilling  is  a  dark-eyed  bru- 
nette, not  typically  beautiful  in  a  film 
sense,  'but  with  personality.  The 
sentiment  is  that  she  may  score  a  hit. 

"Waiting    at    the    Church." 
One  of  the  funniest  sights  we  wit- 
d  recently  was  a  crowd  of  sev- 
eral hundred  fans  waiting  around  the 
dour  of   the   Embassy   Club    for   the 
rs  to  come  out  from  luncheon.    It 
was  about  three  o'clock  in  the  after- 
noon and   there  wasn't  a   star  in   the 
place.     Nobody  had  taken  the  trouble 
to  notify  the  audience  that  the  show- 
all   over    for  the  day.      And    the 
club  can  do  under  the  cir- 
cumstances,   we    think,    is    to    hire    a 
ballyhooer  regularly  for  the  job. 

Erich    Visits    Homeland. 
Erich    von    Stroheim,    if    nothing 
will  remake  "Blind  Hus- 
bands" as  a  talking  picture.     It  was 
it  production  of  its  day. 
The  work  will  n  1  until 

returns     from    a    visit     to    his 
ther  in  Euro]  n  ill. 

and    he    felt    that    he    wanted    most 

ie. 
Von    ha-n't    keen    to    his    former 
homeland  in  and  in  n< 

articles    during 

ndemned  at  times. 
It   that  he  could   now 
ly  return  without  any  homl 
wn. 

;iayc  111 


I      Ami 

• 

.   [      II.  M- 

.11   I).  Ini    hi  ' 

lor"!   clew,   11 

0     I 

.' 

murderer    had    a    > 
six     of     iii.'     man     haro 
muilarhei.    Janitor  adds  that 
vhltor'i  rlslit  cir  was  milt- 
ing,   that    hi-    I     I     . 
I 
i  DM     glaltrl. 
of   ihr   luipecti   wei 
to     have     an     ear     mining. 
(OUT    of    them    hn?o 
and    ilini-    of    that  I 

i   li.  .1   tin-  i  rlmo  hat  all  of 
tin-     eharaetarlatlea      men- 

f    till'    JaultlT.       I 

you  Und  Mm? 


Win  Packard 
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$2500.00 


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prlzo     fllOun.OO     In     value. 
Wa    will     give     four     auto- 
mobiles— mon   i 

ligation.      A    corrert 

iporuinliy.    Ii 

in     casu     of     tl-    . 
former    major     priaV 

rsous  living  in  Chl- 
OC     outildo     of     Iho 
United     States, 
eligible   to    submit    an    an- 
lo    this    puzzle.      ANSWEll    TODAY  1 

■-----■•■■■rotpo  %■----■•-■ 

JOHN    W.    GENZ.    Adv.     M.inacjT.    Desk  48. 
500   N.    Dearborn  St.,   Chicago,    III. 


Tho  man  who  murdered  Biases   Is   Number. 


Name 


I    \  !  !r.  ss    

I 

I  City State. 


SONG      POEM      OR     MEl.OOY     WRITEFJt 

■vrlteri   with   an  h 
' 

0    pli'inograpb 
1 :  now. 

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A  Pepp?  Little  Dish 

Continued   from  page  43 


with  laughter.  She  would  do  all 
those  silly  steps  and  screw  her  face 
into  ridiculous  grimaces.  And  be- 
cause she  made  them  laugh,  the 
judges  gave  her  the  cup. 

Then  came  the  final  Statewide  con- 
test and  Ginger  conquered  again.  The 
prize  was  a  six-week  tour  of  Texas 
vaudeville  theaters,  and  that  was  the 
beginning  of  her  career.  On  her  stop 
in  Dallas  I  met  her — a  fourteen-year- 
old  kid  enjoying  her  first  taste  of  suc- 
cess. Long-legged  and  skinny,  Gin- 
ger wasn't  pretty,  but  she  had  a  sort 
of   impishness  that   she's  never  lost. 

"I'm  not  a  dancer,"  she  explained 
then,  while  applying  heavy  make-up 
with  exaggerated  flourishes.  "I'm  a 
singer.  I'm  going  to  be  a  big  singer 
some  day.  I'm  not  the  type  to  dance. 
I  just  do  the  Charleston  for  fun." 

Recalling  this,  Ginger  threw  her 
head  back  and  laughed  infectiously. 
She's  studying  dancing  now  for  her 
stage  appearance  this  fall  but,  just  as 
she  predicted,  her  forte  is  blues  sing- 
ing. 

For  more  than  three  years  Ginger 
toured  the  country  in  innumerable 
Publix  stage  units.  Mrs.  Rogers 
gave  up  her  newspaper  job  to  accom- 
pany her  daughter.  Often  friends 
advised  her  to  take  Ginger  to  Broad- 
way. 

"Not  yet,"  replied  Ginger's  mother. 
"She's  doing  very  well  now  and  it's 
better  to  be  singing  in  the  sticks  than 
broke  and  jobless  on  Broadway.  This 
is  good  experience  and  when  we  do 
go  to  New  York  she  will  be  ready 
for  it." 

A  year  ago  Mrs.  Rogers  decided 
Ginger  was  "ready  for  it,"  so  they 
came  ahead.  She  began  making  the 
rounds  of  theatrical  agencies,  but 
found  nothing  except  a  week's  en- 
gagement at  the  Brooklyn  Paramount 


Theater.  There  a  scout  saw  her  and 
she  was  offered  a  role  in  the  Akrons 
and  Freedley  show,  "Top  Speed,"  one 
of  the  hits  of  last  season.  After  that 
the  movies  were  inevitable.  Para- 
mount gave  her  a  role  in  the  short, 
"A  Night  in  a  Girl's  Dormitory,"  as 
a  try-out.  and  then  cast  her  as  "Puff" 
in  "Young  Man  of  Manhattan." 

Ginger  was  disappointed  over  miss- 
ing a  scheduled  trip  to  Hollywood  to 
play  in  Irving  Berlin's  "Reaching  for 
the  Moon,"  although  her  role  in 
"Manhattan  Mary"  really  offers  more 
opportunity,  for,  she  explained,  she 
and  Irving  Berlin  are  old  friends.  In 
fact,  she's  a  sort  of  protegee  of  his. 

Incidentally,  this  young  lady  has  a 
protegee,  too,  a  little  singer  in  Dallas. 
Ginger  has  invited  her  to  come  to 
New  York  where  she'll  "get  her  a 
screen  test  with  Paramount  and  a 
try-out  with  Aarons  and  Freedley." 

"Why  shouldn't  I  ?"  inquired  Gin- 
ger, when  some  one  remarked  that 
she's  pretty  young  to  have  a  protegee. 
"I've  had  so  much  luck  I'd  like  to 
help  my  friends  get  a  break." 

It's  somewhat  incongruous  to  pic- 
ture this  gay  little  flapper  as  being 
married,  but  that's  what  she  is.  She 
has  been  Mrs.  Jack  Pepper  since  she 
was  seventeen.  Jack  is  a  former 
Dallas  boy  and  a  vaudeville  headliner. 
Ginger  denies  there's  any  trouble  be- 
tween her  and  Jack,  but  recently  she's 
become  rather  reticent  in  speaking  of 
her  marriage.  A  few  months  ago  it 
was  her  favorite  topic  of  conversa- 
tion. The  answer  is  probably  that 
she's  been  cautioned  by  the  publicity 
department  that  the  public  likes  its 
nineteen-year-old  ingenues  unmar- 
ried. However,  now  that  Ginger's 
started,  it's  doubtful  if  anything  can 
stop  her,  marriage,  love,  and  other 
interests  notwithstanding. 


Wanted — Romance 

Continued  from  page  49 


WRITE    TO-DAY  for  FREE    SAMPLE 


"That  is  why  an  actor  should  keep 
his  private  life  to  himself — that  is,  up 
to  a  certain  point.  More  players 
have  been  killed  by  mixing  with  the 
public  than  if  they  had  appeared  in 
a  dozen  poor  pictures.  By  appearing 
in  person  a  player  loses  all  the  glam- 
1  inr  the  fans  bestow  on  him." 

Mr.  Garrick  looked  into  the  pol- 
ished  top  of  the  desk,  as  if  the  dire 
fate  of  such  rashness  were  pictured 
on  it. 

"Anyway,"  he  went  on,  "what  can 
most  of  us  do  before  an  audience? 
|We  can  only  say  the  same  old  thing, 


'I'm  so  delighted  to  have  this  chance 
to  meet  you  all  face  to  face !  et  cet- 
era.' That  sort  of  thing  takes  away 
the  hero  worship ;  it  makes  the  actor 
subservient  to  the  public.  The  fans 
are  disillusioned  at  seeing  their  idol 
humbling  himself  before  them. 

"But  then,"  Mr.  Garrick  said  al- 
most with  a  sigh  of '  despair,  "all 
glamour  and  illusion  are  dying  out. 
The  talkies  have  done  it." 

"Indeed  ?"  I  said. 

"Yes.  In  silent  pictures,  the  fans 
saw  only  the  shadow,  of  the  actor. 
His   manly   gestures    and   heroic   ac- 


Ill 


tions  were  what  counted.  I  lis  adorers 
mentally  bestowed  upon  him  all  the 
heavenly  gifts  imaginable.  \  golden 
other  on  earth.  But  the 
talkies,  being  realistu  '.  the  ac- 

tor to  speak  like  an  ordinary  human 
being — in  some  cases,  very  ordinary." 

We  stared  at  each  other.  1  nod- 
ded acquiescence.  There  was  no 
gains  the  tact. 

"To  prove  that,"  John  continued, 
in  cast  there  was  a  shadow  o\  a  doubt 
in  my  mind,  "you  can  see  how  the 
talk-.  killed  stardom.     All  vis- 

ionary  glamour  went   out   with   the 
con;  ■  'kl   reality." 

In  spite  of  cold  reality,  John  fiar- 
rick  essays  to  hold  on  to  the  pre- 
realistk  era  of  moviedom.  He  in- 
tends to  remain  John  Garrick,  actor 
— Reginald  Dandy,  citizen. 

I   alluded   to  the    farfetched   situa- 
tions in   his   first  picture.   "The   Sky 
Hawk."     Mr.  Garrick.  actor,  ros 
the 

"I  have  never  yet  discovered  what 
people  mean  by  coincidence  and  re- 
ality." he  declared,  as  we  arose  and 
wended  our  way  to  the  studio  restau- 
rant. 

"You  hear  people  say.  'They've 
pulled  the  long  arm  of  coincidence 
out  of  joint  to  make  up  this  plot.' 
Others  declare  a  picture  to  he  'far 
from  life.'  Well,  if  stories  were 
written  in  exact  imitation  to  life, 
they'd  he  very  dull.     Or  >oci- 

sions.  there'd  be  no  storv  at  all. 


"Paradoxical  as  it  may  sound,  the 
oddest,  most  fantastic  events  often 
occur  in  real  lite.  So  no  one  can 
trul\  say  that  this  or  that  is  beyond 
belief." 

"There  are  more  things  in   heaven 

and  earth "  1  started  to  declaim, 

when  1  caught  sight  of  Mona  Maris 
at  a  near-b)  table. 

Before  1  forget  it.  I  might  add  that 
John  is  soon  to  marry.  You  recollect 
the  dear  girl  I  mentioned  earlier? 
Well,  she  it  is  who  is  to  he  the  bride. 

Now  you  can  understand  why  Mr. 
Garrick  came  to  California — why  he 
clings  to  romance — why  he  deems  co- 
incidence not  so  odd  after  all — the 
why  of  it  all. 

Hut  as  Mona  Maris  was  now  re- 
turning to  her  set.  I  jumped  up  and 
almost  vaulted  the  table  to  catch  up 
with  the  Argentine  charmer. 

Before  T  forget  my  manners,  allow 
me  to  add  that  John  Garrick — in 
spite  of  the  dearth  of  romance  and 
glamour — is  leaving  his  mark  on  each 
picture  he  makes.  Possessed  of  the 
necessary  looks,  a  good  voice,  natural 
acting,  the  fellow  is  getting  over. 

I  might  have  delved  into  deeper 
things  with  Mr.  Garrick.  hut  he  had 
to  pet  hack  to  work.  And,  as  already 
mentioned,  Mona  Maris  had  crossed 
our  vision.  Choosing'  between  an 
interview  and  Mona,  the  interview  is 
deserted. 

Tn  any  case,  you  have  met  John 
Garrick.     Let  it  suffice 


Hollywood   High   Lights 

Continued  from  rage  109 


David  Discovered. 

"Tol'able  David"  is  an  assured  fact 
now.  The  chap  to  play  the  hero — 
brand-new    I  Teen — has   been 

discovered.  His  name  is  Richard 
Cromwell.  That  is  his  film  name. 
anyway;  his  real  one  is  Roy  Rada- 
baugh. 

We  understand  that  more  than  one 
hundred  .ere    made    for    this 

character,  before  the  choice  was  fi- 
nally effected.  And  young  Crom- 
well had  t<>  argue  his  way  into  the 
office  of  the  producer,  and  then  talk 
pretty  fas  I  his  chai 

It    is    a   true   good-luck    story    for 
this  youth,   since  he  and  his  mother 
indent  upon  their  owi 
-   for  a  living,  his  mother  work- 
he  got  the  job  in  Tol'able  David1 
told  her  to  quit. 

if  luck  in  the  mo . 
\t  may  ;  hut 

scar  nything  else  come 

their  way  that  is  half  as  good. 


Clear,  Bright 
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V  few  applications  of  harmless  Murine 
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contains  no  belladonna  or  any  oilier 
injurious  ingredient.  60c  at  drui;  and 
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» 


VR1ISL, 

poR  You* 


The  Vanishing  Independents, 
n  there  will  he  no  more  stars 
working  freely  and  independently. 
The  old  guard  is  dwindling.  There 
remain  now  only  Charles  Chaplin  and 
Harold  Lloyd.  One  might  also  in- 
clude Gloria  Swanson  who  maintains 
her  own  organization. 

The  latest  surrender  is  that  of 
Douglas  Fairbanks  and  Mary  Pick- 
ford.  Henceforth  they  will  make 
their  pictures  for  Joseph  Schenck,  as 
head  of  United  Artists,  which  they 
themselves  originally  formed  with 
Chaplin  and  D.  W.  Griffith— th< 
mous  "Big  Four." 

The  two  stars  have  disbanded  most 
of  their  own  camp  followers,  and  are 
now  but  a  unit  in  the  studio  which 
they  once  completely  controlled. 

An  arrangement  like  this  is  advan- 

iy.    1  )oug  and  Mary 

will    not    ha  spend    their   own 

money  on  their  pictures,  as  they  have 

Bui  it  seems  a  bit  Bad  'his 

ing  of  the  old  p  ' 


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The  Brand 


IMPULSIVE 
YOUTH 

By    Vivian    Grey 


She  was  rich.  And  he  was 
poor.  She  gave  him  up  because 
she  didn't  want  to  break  his 
mother's  heart,  the  heart  of  the 
woman  who  had  saved  and 
scrimped  so  that  he  might  go  to 
college  and  get  away  from  the 
manual  labor  that  seemed  des- 
tined for  him. 

It  was  an  impulsive  act,  the 
sort  of  thing  she  was  always  do- 
ing, for  at  the  start  she  had  acted 
on  impulse  when  she  left  her 
luxurious  home  to  cast  in  her  lot 
with  the  humble  folk  on  the  other 
side  of  the  creek.  It  was  impulse 
that  sent  her  out  at  midnight  to 
make  her  own  way  in  the  world, 
alone,  with  no  money  in  her 
purse.  And  when  Phil  Rhoades 
found  her  and  would  bring  her 
back,  she  refused,  for  she  was 
determined  that  she  would  not 
stand  in  the  way  of  the  career 
of  the  man  she  loved. 

In  a  way,  it  is  true  that  most 
of  us  act  on  impulse  at  one  time 
or  another,  trusting  somehow  to 
the  hidden  voices  within  us  that 
our  actions  may  be  for  the  best. 
The  author  of  this  absorbing 
story  tells  what  may  happen  when 
we  make  impulse  the  guide  to 
life.  It  is  a  story  of  youth  in  the 
grip  of  a  great  love  that  is  here 
before  us,  a  book  that  we  do  not 
lay  aside  until  the  last  pageisread, 
and  one  that  we  take  up  again, 
for  it  is  well  worth  the  rereading. 


T1ELSEA  MOUSE 
"PUBLISHER^ 


ll11: 


Oklahoma  Defies  Broad-Way 

Continued  from  page  55 


with  the  promised  association  of  a 
director  and  star  with  whom  she  loved 
to  work,  Kay  finally  signed  the  little 
scrap  of  paper. 

Following  "Gentlemen  of  the 
I 'revs"  and  the  Marx  Brothers'  "Co- 
conuts," Miss  Francis  was  signed  to 
a  Paramount  contract  and  shipped  to 
Hollywood.  She  had,  at  the  time  of 
writing,  just  finished  "Raffles,"  with 
Ronald  Colman,  having  been  bor- 
rowed by  United  Artists  for  this 
picture. 

In  the  recent  "For  the  Defense," 
with  William  Powell,  and  in  the  Col- 
man opus,  she  was  given  her  best 
cinematic  opportunities  so  far.  Play- 
ing a  heavy  in  her  first  film  threat- 
ened, in  the  way  of  movies,  to  doom 
her  to  a  succession  of  villainous  roles. 

"What  I'd  like  to  do,"  she  said,  "is 
women  of  the  sort  Katharine  Cornell 
plays.  They  are  living,  breathing 
people,  women  whose  very  vitality 
makes  them  dramatically  interesting. 
When  you  get  such  characters  to 
analyze  and  project,  then  you  really 
know  wdry  you  insisted  on  turning 
actress." 

Asked  if  she  had  made  this  quite 
reasonable  suggestion  for  herself  to 
the  studio,  Kay  made  vigorous  denial. 

"I'm  no  fixture  yet.  Give  them 
time  to  find  out  whether  or  not  I  am 
a  potential  flop.  Doing  a  few  plays 
doesn't  necessarily  qualify  me  for  pic- 
tures.     I'm  still  learning  the  trade." 

If  you  ask  me — and  please  do — I 
think  she  already  knows  it  rather 
well.  A  good  trouper  is  a  good 
trouper,  whether  lighted  by  footlights 
or  by  Kleigs.  Kay's  performance  in 
"Street  of  Chance"  was  authoritative 
and  sensitive,  and  in  "Raffles"  she 
comes  fully  into  her  own. 

"No  one  could   give  a   really  bad 


performance  in  a  Colman  picture," 
she  said.  "He  is  so  delightful  to 
work  with  that  the  whole  company  is 
keyed  up  to  him.  Although  I  did  at- 
tempt to  demolish  him  one  day,  poor 
dear.  I  had  on  a  very  elegant  gown, 
with  train,  and  was  to  make  an  en- 
trance. I  swept  in,  feeling  quite  ef- 
fective— and  tripped  over  a  rug  and 
fell  headlong,  bringing  Ronnie  and  a 
couple  of  chairs  down  with  me. 
Francis,  the  human  butterfly !" 

Even  the  publicity  departments, 
that  most  hard-boiled  studio  element, 
adore  Kay  Francis.  And  this,  in 
spite  of  the  major  difficulty  she  gives 
them  in  the  matter  of  information. 
Nonplused  by  the  ten-page  form  she 
was  requested  to  fill  out  with  her 
likes,  dislikes,  waist  measurement,  et 
cetera,  she  blithely  copied  the  answers 
put  down  by  the  star  sitting  next  to 
her  on  the  set.  When  asked  her 
opinion  of  screen  kisses,  she  tells  the 
p.  d.  to  make  up  an  opinion  for  her 
and  anything  they  say  will  be  all 
right. 

"Hobbies  seem  to  be  terribly  im- 
portant. And  I  haven't  any.  I  have 
a  dog  and  a  cat  and  a  canary  and  a 
lot  of  goldfish,  but  they  aren't  hob- 
bies. But  I  suppose,  sooner  or  later, 
I'll  be  caught  in  a  weak  moment  and 
they'll  run  a  picture  of  Miss  Francis, 
that  irrepressible  child  of  nature, 
romping  among  her  goldfish." 

She  wears  clothes  like  no  one  else 
along  our  Boulevard,  drives  a  Ford 
coupe,  calls  her  Scottish  terrier 
Snifter,  because  he  is  a  snifter  of 
Scotch,  has  been  married,  but  isn't 
now,  likes  California,  because  it  is  a 
good  place  to  work  and  is  near  Hono- 
lulu, is  punctual  for  appointments, 
and  she  is  altogether  a  most  ingratiat- 
ing person. 


The)?  Favtf  in  Luck 

Continued  from  page  64 


Neither  has  "gone  Hollywood" — pos- 
sibly because  both  have  lived  here  so 
long  and  have  seen  too  many  exag- 
gerated egos.  Hardy  out  of  make-up 
might  lie  mistaken  for  a  well-to-do 
business  man  with  a  good  story  and 
a  smile.  Stan  Laurel,  good-natured 
chap  with  sandy  hair,  engaging  blue 
eyes,  a  warmth  in  his  greeting,  might 
well  be  classed  as  a  Boulevard  sheik, 
but  he  exhibits  none  of  the  traits  of 
the  ogler. 

Both  realize  that  while  they  are 
going  like  a  million  now.  they  will  in 
time  cea^e  to  he  in   vogue. 

"We'll  be  washed  up  some  day." 
saws  Laurel.    "When  that  time  comes 


we  expect  to  go  on  the  road  with  a 
feature-length  comedy  for  the  stage. 
Vaudeville  offers  galore  have  come, 
but  have  been  refused.  We  did  put 
on  a  clothes-ripping  sketch  in  San 
Francisco  some  months  ago,  but  that 
has  been  our  only  public  appearance, 
and  we  do  not  expect  to  repeat  it. 
Vaudeville,  with  its  three  or  four 
shows  a  day,  does  not  appeal  to  us 
in  the  least." 

Tn  the  interim,  they  will  pantomime 
their  way  through  pictures,  speaking 
as  few  lines  as  possible.  Because  they 
know  that  action  is  their  forte.  And 
the  world  will  continue  to  guffaw  and 
howl. 


n;{ 


WKo   Knows   the   Rest? 
tinned  from  pagi 

pretty  girls  with  sweet  voices.  Early, 
but   OUT   weary   old   world   lacks  hap- 
pily married  lovers.     Such  a  dear  hoy. 
You    can't — you    dare    not ! — 

ter  their  beautiful  romance  for  a 
hollow  thing  like  fame." 

S  •    they    rode   hack    to    Hollywood 
and   I.ydia  commenced  her  cam; 
to   forc<  rg   to  buy   the   talkie 

rights    to    "Ashes    of    Roses."      Hut 
after  three  days  of  this  sort  of  thing, 

igon  Pictures  came  out  with  an 
announcement  that  they  had  acquired 
all  rights  i"  the  old  story  for  their 
star,  Maurice  Cavalier.  I.ydia  and 
Marsh  met  at  the  Brown  Derb)  to 
commiserate  with  each  other  at 
luncheon.  It  was  Wednesday  and 
all  the  old  guard  were  present. 

Ideruy,  through  the  door,  came 

i  and  a  hoy.  She  was  dn 
in  the  style  of  the  day  after  to-mor- 
row, but  >:ill  she  was  the  loveliest, 
-looking  thing  in  that  giddy 
crowd.  The  hoy.  with  an  air  of 
ownership,  brought  her  proudly  to  a 
stop  at   Marsh's  table. 

Say,"  he  cried,  "why  didn't  you 
hang  around  the  other  day  and  wait 
till    I    had  what    you    was 

try-in"  to  tell  us?"  He  glanced  at  the 
silent  Lydia  and  grinned.  "I  guess 
she  was  dead  against  it.  eh?  It  wasn't 
till  after  you  was  gone  that  I  n 
nized  you.  Mr.  Marsh.  Been  puttin' 
on  a  little  weight,  eh?  Well.  May- 
belle  and  me  put  our  heads  together — 
and  I  guess  we  doped  it  out  right. 
too.  For  I  took  her  out  to  Paragon, 
introducin'  myself  as  the  little  lady's 
manager,  and  the  studio,  after  lis- 
tenin'  to  me.  immedjutely  gave  us  a 
contract  for  her  to  play  opposite 
Maurice  Cavalier.  Our  thanks  to 
you.  old  chap,  for  puttin'  me  wi 

Over    the   Teacups 

Continue!  from  page  33 

quiet  corner  and  works  them  off  by 
making  hooked  I    wonder   if 

Paramount  ever  thought  of  getting 
Nancy  Carroll  to  take  up  fancy  work. 
■■  that  Norma  Shearer  has  re- 
tired, I  wonder  if  they  won't  let  Joan 
do  some  light  comedies." 

U   ever  get   a  chano 
laugh   at   home  ?     D  •   putting 

ideas  in  ar.  ait  mak- 

e  comedies.     When 
e  theater  I  war.- 
unt: 

sobber  with  Beryl  Mercer"- 
on  reaching 

and  ap|  indkerchii 

the   we< 
at  'Common  G.- 

Ai 
the  pic: 


"My  Fat  Shall  Go" 

Say  That  Today — Then  Do  This 


You  know  that  it  can  go,  because  peopU  .ill 
about  ><h!  have  reduced.  In  the  nasi  fen 
years,  <.\ass  fat  has  been  disappearing  t.ist. 
Not  by  starvation,  not  bj  over-exercise,  not 
by  harmful  drugs.  Science  has  ton  mi  .1  new 
w.iv  to  nulit  fat.  Doctors  now  employ  it  the 
world  over.  They  supply  .1  gland  secretion 
.1  big  factor  in  nutrition.  It  is  no*  known 
th.it  tin-  lack  ofth.it  permits  too  much  food 
tii  turn  to  fat. 

l>\  tins  modern  knowledge.  Supply 
uh.it  tin'  system  lacks.  It  is  easy,  pleasant 
and  effective.  St.irt  now. 

Listen  to  the  Warnings 

Doctors  lunuluir  are  proclaiming  the 
dangers  of  fat.  It  is  a  blight  to  beaut]  .  health 
ami  vitality,  lr  shortens  life,  over-taxes  the 

hi  art.  rohs  life  of  hall'  its  joj  J. 

1  also  to  the  warnines  against  starva- 
tion ami  over-exercise.  Fight  fat  as  modern 
doctors  fight  it — with  a  gland  food.  A  world- 
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Marmola  tablets  have  been  used  tor  24 
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Users  have  told  others,  and  the  use  has 
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results.  The  hunk  n  of  fat  has  been  lilted  for 

multitudes  in  a  helpful,  vitalizing  way. 

Co  do  what  they  did.  Excess  fat  is  follj  in 
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Price  ?1.00.    \  book  in  the  box  tells  you  how 
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MARMOLA 

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'  MODERN 

'  EUGENICS 


iMMeUfMIL' 


TO  MARRY 


i   full  and  Intimate 
standing  of  Bei  and 
Life  and   1 1  *■  iHh.     "Modei  n 

cryin      demand    of 

i  i  ]   women   fur   a   reliable, 

bt-from- 

0  00     large 

i  Icnly    lllu  itrated.    covering    the 

Health  and    i1 
i  v,     Including    a    comprehensive 
!:«>-ik  « Ith  recipes  and  ad- 
i  1  hygiene,   p 

i .    most 
in    work   on   this   Bubject. 

■  epro  luc- 


■ 


I   nit    mottu- 


■ 


PREFERRED   PUBLICATIONS 
36  W«St  45th   Stroet,   Dopt.  PP-11 


Jacks  of  Queer  Trades 

Continued  from  page  90 


catch  voices  at  unusual  angles  before- 
hand, thus  saving  time  next  day  when 
the  scene  is  shot. 

The  paint  tester,  by  means  of  his 
little  glasses,  judges  how  sets  will 
photograph  in  color.  The  plumber, 
with  a  sort  of  fire  engine,  sends 
smoke,  noise,  and  water  through 
pipes  and  various  contrivances  to 
radiators,  jets,  fountains  and  such 
effects. 

The  grass  grower  contrives  a  carpet 
more  realistic  than  the  old  hemp  mat, 
from  seed  grown  through  a  special 
kind  of  burlap,  which  is  rolled  and 
put  away  to  "age,"  then  spread  on 
the  set  and  actually  watered  and 
mowed !  An  employee  doubles  for 
a  spider,  weaving  webs  of  spun  glue 
blown  with  a  tiny  electric  fan.  and 
manufactures  dust  and  frost.  They 
can  douse  the  "bullfrog" — the  boom- 
ing voice — by  muffling  it  electrically, 
but  the  firing  of  a  gun  would  wreck 
the  mechanism.  So  an  explosive  ex- 
pert makes  blank  cartridges  which 
record  with  the  right  volume  of 
sound. 

Tests  made  for  such  sounds  as 
thunder,  rain,  bells,  and  every  sort  of 
incidental  noise,  produce  weird  de- 
tonations until  modified  by  the  sound- 
effect  department.  An  elevated's 
rumble  is  obtained  by  drawing  skates 
across  a  hare  floor.  They  are  rap- 
idly evolving  a  library  of  sounds 
from  the  tick  of  a  watch  to  a  collec- 
tion of  hiccups,  such  as  dented  the 
sound  track  in  Barrymore's  "The 
Alan  from  Blankley's."  and  every 
kind  of  animal's  crv. 


An  increase  of  twenty-five  per 
cent  of  labor  on  the  sets  is  due  to  the 
need  of  more  electricians  to  operate 
the  larger  number  of  lamps  and  the 
forced  use  of  "rifles,"  as  incandes- 
cents  are  called  in  studio  argot.  They 
are  more  delicate  to  handle.  Addi- 
tional "grips"  move  the  heavy  sound 
equipment  and  more  camera  men 
shoot  several  angles  of  each  scene  at 
once,  so  that  the  recorded  sound  track 
matches  the  action,  no  matter  whether 
it  be  a  long  shot  or  close-up. 

Two  new  departments,  whose  work 
is  both  audible  and  visible,  have  been 
created.  the  dance  and  music 
branches.  Pearl  Eaton,  of  RKO, 
Larry  Ceballos,  of  Warners,  Albert- 
ina  Rasch,  of  M.-G.-M.,  Richard 
Boleslavsky,  of  Pathe,  and  other 
dancing  instructors  have  under  con- 
tract forty  or  more  show  girls,  who 
are  kept  in  constant  training  for  bal- 
let and  chorus  routines. 

The  musical  spectacles  call  upon 
the  resources  of  large  staffs  of  com- 
posers. Such  maestros  as  Josiah 
Zuro,  of  Pathe,  and  Victor  Baravalle, 
of  RKO,  direct  the  research  and  com- 
position work  of  lyricists,  composers, 
musicians  of  many  talents,  and  or- 
chestras that  play  during  production. 

Vocal  coaches.  Frank  Reicher, 
Helen  Ware,  and  others,  teach  dic- 
tion or  build  up  the  players'  voices 
for  singing  numbers. 

Xor  must  we  forget  the  additions 
to  the  personnel  department,  where 
these  various  employees  are  engaged, 
and  the  new  clerks  who  make  out  the 
augmented  pay  rolls ! 


It's  Smart  to  be  Tkrifh? 


Continued    fro 

"After  all,  when  one  dashes  from 
picture  to  picture,  and  also  tries  to 
run  a  home  efficiently,  there  aren't 
many  hours  free  to  spend  in  the 
stores.  So  when  I  do  take  the  time 
to  rifle  the  shops,  I  buy  enough  to 
last  for  a  long  time. 

"And  I  find  that  things  don't  wear 
out  as  fast  if  you  change  oftener — 
even  though  you  haven't  actually 
bought  a  greater  number  of  gar- 
ments at  the  end  of  the  year." 

These  girls  are  only  a  few  ex- 
amples of  a  trend  that  is  sweeping 
not  only  Hollywood,  but  the  entire 
country. 

Kay  Johnson  selects  a  group  of 
Frocks  which  she  really  likes,  and 
weafS  them  over  and  over  again. 

Edwina  Booth,  too,  makes  her  com- 
paratively small  salary  cover  a  multi- 


m   page    105 

tude  of  needs  by  budgeting  every  ex- 
penditure and  buying  carefully. 

And  buying  carefully  has  come  to 
mean  choosing  clothes  that  will  last. 
Regardless  of  the  climate  of  any 
specific  town  the  same  thing  is  true. 
These  modern  fashions  are  offering 
us  all  the  opportunity  to  cut  down 
on  our  clothing  hills.  Because  we 
can  dress  more  specifically  to  our 
own  type,  we  can  choose  just  the 
frock  suited  to  us.  And  it  will  last 
longer,  not  only  actually,  but  in  our 
liking  for  it. 

So.  if  we  only  watch  the  costumes 
of  some  of  our  movie  favorites, 
choose  a  wrap  suited  to  our  own  lo- 
cality, and  adapt  the  ideas  to  our  in- 
dividual requirements,  there  is  no 
reason  why  we  can't  profit  from  the 
examples  of  these  girlswho  have  made 
a  study  of  correct,  smart  dressing. 


II. 


The  Master}?   of  Your  Name 


ower 
ur  material  activity.     Any   work 

with 
art    ..  appeal    to 

s  hap- 
and   are 

and  alth 

j  ou 

rtd    her    little    finger    by    tel 
ill   you   are. 
in   return  '.    for 

«  aj  - 

mans   clt>o\v   to   help   her   at   the 

u   run  errands,  you  waste  hours 

.  bat  you  can 

■ 

r  that  the  other  men  shy  at.     On  the 

ne  per  cent  of  the 

appri  rve. 

I    let    it   so   at   that. 

- 

r   and   over   again   you   have 

had  cause  to  hustle 

for  :  They  will 

cue   re-pect.   if   r 
much  end.     You  were  a 

bright    little   boy    in   school,    and    at 
abor.:  n    you    were    very    fond    of 

a  certain  girl,  hut   she  wouldn't  take  you 
You   also   had    a    little   trouble 
illy    you    have 
-y    well    for    your    age.    an/, 
continue  :  »o  for  the  ri    ■ 

life.  If  you  are  not  married  now,  you 
will  surely  marry  within  a  year,  but  you 
will  reed  at  about  fifty,  and  will 

marry  again. 


L.  H.  C.  T.,  April  2?.  1903.— You  cer- 
tainly are  in  a  quandary  right  now,  aren't 

with   more   admirers   than  you   know 

what  to  do  with!     One  has  been  married 

ne  has  the  mo~t  money — and  you 

can't    help    thinking    about    him.    because 

money  has  been  very,  \ery  low  for  the  past 

■  ears — and  the  one  you  love  best,  but 
you  keep  on  wondering  whel      -  do  or 

not.     Admit  it,  dear,  and  marry  him  right 
away  will  be  very  happy  together. 

You  simply  overflow  with  charm  and  at- 
tractive^ I  ever  did 
since  you  were  eighteen,  and  I  want  you  to 
get  the  benefit  of  it.  You  also  have  a  lot 
of  artistic  ability,  and  that  is  the  only  line 
in  w  have  earned  money  your- 
I  with  any  success.  You 
have  had  so  much  trouMe  and  unhappiness 
since  your  fir^  marriacj  and  widowhood 
that  you  wonder  if  it  is  going  to  last  for- 
.  dear,  it  is  n<  >t ;  it  is  over  right 
now,  and  nothing  like  it  will  come  back  for 
many,  many  years,  if  ever,  because  I  hope 
that  husband  will  give  you  a  hun- 
dred times  better  vibrations  in  your  name 
than  your  fir-t  husband  did.  You  a>k  if  you 
would  always  have  been  happy  together. 
He                              'Ie  and  kind  and  had  a 

lerful     way     of     knowing     what 
wanted  b  I   the 

or  name  was  there,  no  mat- 
ter '  he  might  have  lived,  and  the 
■ 

.     IV. 

matter  whaL  I  all  that  old  trou- 

ble  and 

now  culty 

in  love,  beca?:  r  name  at 

hat    I   am 

'rouble  as 

it    apnea  -  -    way 

-ch  l'..  : 


Continued  from  page  91 

Ativc,    intelligent    because   of 

your  birth  path  vi  five,  and  tin-  is  a  lUim- 

•  Lit  can  never  be  taken  awaj    from 

No  matter  what  happens,  you  can 
'think  it  over  and  figure 
of  it.  You  were  a  very  delightful,  attrac- 
tive young  girl,  ami  what  you  wanted 
an  ideal  love.  Nothing  could  have  made 
you  marry  a  man  you  did  not  love  very 
deeply,  for  the  sake  of  his  money.     1   be- 

■    you    married   at    some    tim< 
tween  twenty-two  ami  twenty-five,  and 

your  husband  had  already  been  married  Ik 

\    a  surely  must  hive  had  a  littl. 

within  two  or  three  years,  didn't  you? 
Since  marriage  you  have  become  unusually 

positive  and  determined.  You  run  the 
house  the  way  you  want  it,  or  you  will 
know  the  reason  why.  But  you  are  so 
warm-hearted  and  understand  people's  mo- 
tive.- and  de-ires  SO  clearly,  and  are  SO  fair 
in  dealing  with  them,  that  they  do  not  mind 
your  being  just  a  little  hit  bossy.  They 
like  it  because  they  like  you.  But  don't 
try  to  make  them  toe  too  much  of  a  chalk 
line,  will  you?  Ease  up  a  little  now  and 
then,  even  if  it  hurts.  It  will  do  good,  not 
harm,  and  you  will  be  in  a  Stronger  position 
than  ever.  You  have  real  speaking  abil- 
ity, although  you  may  never  have  tried  it 
out,  and  would  do  wonderfully  well  on  a 
platform,  where  your  great  intuition  in 
business  affairs  will  bring  you  real  since--. 
You  have  been  bothered  a  lot  for  the  past 
twenty  years  with  some  chronic  che-t  trou- 
ble, like  bronchitis,  and  in  the  past  four 
ytars  you  had  a  very  bad  time  with  it. 
You  can  be  sure,  however,  that  you  will 
never  suffer  like  that  again,  but  will  get 
better  daily  and  hourly  from  now  on,  with 
real  power  and  activitv  for  the  rest  of  your 
life. 


X.  U.,  May  11,  1910.— You  have  a  won- 
derful name,  dear,  with  fine  positive  num- 
bers in  every  large  digit.  It  gives  you  beau- 
tiful, strong,  active  qualities,  but  the  nuin- 
ire  SO  placed  that  they  do  not  give  you 
much  money,  except  through  hard  work. 
Even  then  you  will  never  earn  as  much  as 
your  gifts  are  really  worth.  You  are  fiery, 
independent,  very,  very  honest  and  sincere, 
intelligent,  creative,  intuitive.  What  m.  ire- 
could  I  say?  You  know  how  to  use  lan- 
guage, whether  you  have  really  studied 
much  or  not,  and  can  speak  and  write 
equally  well.  One  thing  will  not,  I  admit, 
be  what  you  might  wish,  and  that  is  love. 
In  a  way  you  are  so  impulsive,  quite  hot- 
tempered,  and  fussy  as  to  truthfulness  and 
exactness,  that  you  scare  thi  fit  be- 

they  have  a  chance  to  find  out  what  a 
grand  girl  you  are.  No  petting  parties 
for  you  I  They  make  you  sick!  Heaven 
knows  that  I  don't  want  you  to  go  in  for 
anything  like  that.  You  couldn't  if  you 
tried.  But  let  your  intuition  and  your  Icind- 
U  more  than  your  head,  and 
you  will  Ik;  much  happier,  unless,  of  course, 
you  would  rather  live  without  the  hoys  at 
all.  I  admit  that  you  can  have  a  ver 
rive,  very  interesting  life  by  yourself,  but 
it  would  certainly  grow   lot  i   will 

abk  to  marry  for  real,  ideal  love, 
but  for  that  you  must  wait  another  twenty 

!  In  the  mantime  you  can  find  the 
kin'!  ;ile    marry    for,    or 

for  a  nice  home,  but  you  are  not  the 
kind  whom  that  will  really  satisfy.  You 
arc  a  very  be  '  girl  right 

for  your  age,  and  you  will 
up  until  -'it.     Then   you 

ly    fall 
•  you  ! 

page   117 


Men  ask: 
"Who  IsSiieT 

(WtnilcDouCd/i'tohiiow'llcr.Scc/ct'.') 

Watch  her  when  she  enters  the  room.     Men 
seek  her  out.     You  hear  them  ask:    "V'bo  h  ibtili fan- 
ning girl?"    Vi'hai/j  her  charm?    Whydocathcl 
iably  attract,  when  other  giill  go  nnnodt 

.  U  lur  bail?  Do  fWi  DO!  find  the  answet  then  ' 
See  how  it  accents  her  best  features  —  adds  vivacity  to 
s— lends  a  touch  of  romance! 
Yoa,  too,  can  have  lovely  hair— ibis  very  eitmng.    Just 
ont  Golden  Glint  Shampoo*  will  show  you  the  way! 
Only  25c  at  your  dealers',  or  send  for  a  free  sample. 
'(Note:    Do  not  confute  this  with  other  shampoos 
that  merely  cleanse.      Besides  cleansing.   Col  Jen 
Glint  Shampoo  gives  your  hair  a  "tiny-tint"  —a 
wee  little  bit— hardly  perceptible.      But  bow  it 
brings  out  the  true  beauty  of  your  hair!) 

FREE        


J.  W.  KOBI   CO.,    616    Rainier   Ave.   Dept.L 
Seattle,  Wash.      •  •  •  •      Please  send  a  free  sample. 

N  ■  m  e 

Address 

City Stat.  


Color  of  my  hair: 


Eyelash  Beautificr 

Inrtdutly  darkens  eyeuch-s  an  J  Itows. 

Makes  lashes  appear  long  r 

more  luxuriant.    Gives   depth,       '  -.4 

ncc,  c^prcssicn  and  ch  .r.n 
to  the  eyes.  Harmless.  Eisiiy  ', 
applied.  Approved  by  millions 
cf  lovely  \v<  men  the  world  over. 
Solid  or  Wjtcr-proof  Liquid 
Maybellinc.  Cl.:ck  or 
75c  at  all  toilet  goods  counters. 

MAVDCLUSC  CO., CHICAGO 


Kill  The  Hair  Root 


My    method    Is    tho    way    to    prevent    hair    from    growing 

acain.      l'<e  It  privately,   at  home.      Tl'xiklct   free.      W'rllo 

w  i  |  .    Iture. 

D.    J.    Mahler,    191 -A,    Mahler    Park,    Providence.    R.    I. 


-«-< 


30  DAYS 
HOME   TRIAL 


ANITA    INSTITUTE. 


wmoXHAPE 

'VENOSE 

Anita  NoM  Atl- 
Joater  shapes  flpsh 
and  enrtllnge  — 
quickly,  lately, 
painlessly,  w  h  I  le 
.vim  sleep.  LmI inn 
ilta.  Doctors 
prnlHc   i 

Write     fur 

TREE    nnoKLET. 
190    Anita    Bldo  .    Nrwark.    N.    J. 


ILLOUTyouB 

igure  "30  days 


■  VI    ■ 

J    FR 

L 


FREE    Write   To      v 


-^ 


NANCY  LTE 


Dept  Til 


■   '     Mm 


116 


Chelsea  House 


The 

Front-page 

Girl 

By   Jack   Bechdolt 


Now,  the  city  room  of  a  news- 
paper is  about  the  last  place  in 
the  world  to  look  for  romance. 
Newspaper  men  are  notoriously 
hard-boiled,  or  at  least  they  like 
to  give  the  impression  that  they 
are.  They  would  have  you  be- 
lieve that  they  have  seen  so  much 
of  life  that  it  no  longer  holds  any 
mysteries  for  them.  When  a 
newspaper  man  comes  in  the 
door,  love  is  popularly  supposed 
to  fly  out  of  the  window. 

Nevertheless  and  notwithstand- 
ing, love  did  somehow  manage  to 
assume  an  all-important  role  in 
the  particular  newspaper  which  is 
featured  in  this  unusual  and  fast- 
paced  novel — love  and  its  black 
shadow,  jealousy.  Here  is  a  story 
that  moves  with  the  breath-taking 
rapidity  of  the  news  itself.  It's 
the  story  of  a  girl,  sick  of  the 
quiet  of  a  little  town,  who  comes 
to  New  York  to  plunge  into  the 
hurly-burly  of  metropolitan  life 
at  its  very  heart.  How  she  makes 
pood,  and  what  happens  in  the 
making  are  told  by  Jack  Bechdolt, 
himself  an  experienced  news- 
paper man,  in  magnificently  mov- 
ing style.  "The  Front-page  Girl" 
is  a  real  headliner. 


ELSEA  HOUSE 

"TUBUsnngv 

>9-89  SEVENTH  AVE..*^^^ 
i       UL.W  YORK.  CITY 


What   No   Star   Can  Tell 

Continued   from  page  98 


brought  to  the  rescue  and  contributed 
"Love's  Blindness,"  a  typical  Glyn 
extravaganza,  to  the  cause  of  Pau- 
line, and  Miss  Starke  emerged  with 
the  greatest  lot  of  sex  appeal  it  was 
ever  my  misfortune  to  see.  From 
that  time  she  was  loaded  down  with 
a  jungle  of  ornamental  trappings  that 
would  have  dismayed  Gloria  Swan- 
son  in  her  "high-society"  clays.  Pau- 
line's attempts  at  worldliness  only 
elicited  laughter.     Poor  Pauline  ! 

'Idic  popularity  of  Dolores  del 
Rio,  of  Aileen  Pringle,  and  of  Con- 
stance Bennett  may  be  attributed  in 
each  instance  to  a  different  kind  of 
admiration.  In  the  case  of  Miss  del 
Rio,  it  is  for  her  beauty  and  artistic 
acting;  it  is  Aileen  Pringle's  poise 
and  fine  manners,  and  Constance 
Bennett's  chic. 

Irene  Rich  appeals  to  older  fans 
for  her  refinement  and  beauty.  The 
same  applies  to  Lois  Wilson.  Al- 
though fans  may  not  possess  scores 
of  portraits  of  them,  the  quaint  drol- 
lery of  Louise  Fazenda,  Zasu  Pitts, 
and  Polly  Moran  has  endeared  them 
to  thousands,  and  the  delightful  an- 
tics of  Marie  Dressier  are  fast  en- 
dearing her  likewise. 

Audiences  have  quickly  taken  Lupe 
Velez  to  their  hearts,  because  of  her 
irresistible  vivacity  and  the  warmth 
of  her  portrayals.  Mary  Nolan,  in 
her  first  starring  picture,  was  wel- 
comed by  both  fans  and  critics.  Such 
actresses  as  Laura  La  Plante,  Loretta 
Young,  Anita  Page,  Mary  Brian. 
Marian  Nixon,  and  Sue  Carol  enjoy 
consistent  popularity,  but  lack  of  dis- 
tinction keeps  them  from  being  in 
any  way  a  sensation.  Fans  like  Janet 
Gaynor  for  her  winsome  appeal,  Do- 
lores Costello  for  her  delicate  beauty, 
and  Lila  Lee  for  her  quiet  sincerity. 
Players  like  Jane  Winton,  Dorothy 
Revier,  Jacqueline  Logan,  Eve  South- 
ern, and  Edna  Murphy  do  not  shine 
brightly,  because  they  are  usually 
submerged  in  unimportant  films, 
where  even  a  good  performance 
doesn't  insure  public  notice.  Doris 
Kenyon,  Lois  Moran,  Virginia  Valli, 
and  Mary  Astor  lack  a  certain  some- 
thing to  make  them  interesting  in  the 
public  eye. 

Bessie  Love's  popularity  is  clue  to 
her    naturalness    and    her    jolly    per- 


sonality. She  is  the  girl  everybody 
would  like  for  a  friend,  and  audiences 
find  themselves  romping  about  with 
her  in  her  screen  adventures.  Dor- 
othy Sebastian  is  kept  from  top-notch 
popularity  by  indifferent  casting. 
"Spite  Marriage"  and  "The  Unholy 
Night"  made  an  actress  of  Dorothy, 
but  what  is  Metro-Goldwyn  doing 
for  her  now?  Other  players,  like 
Iledda  Hopper,  Julia  Faye,  Mar- 
garet Livingston,  and  Myrna  Loy  are 
always  well  cast,  and  appear  so  fre- 
quently that  audiences  become  famil- 
iar with  them. 

For  the  most  part,  the  stage  stars 
who  have  succeeded  in  storming  the 
studio  gates  have  been  quite  coolly 
welcomed  by  film  audiences.  Ann 
Harding,  Claudette  Colbert,  Barbara 
Stanwyck,  Jeanette  MacDonald,  and 
Kay  Francis,  however  good  their  per- 
formances may  be,  will  have  to  labor 
long  and  earnestly  before  they  take 
a  place  beside  Garbo,  Del  Rio,  Craw- 
ford, and  Dove.  So  the  fans  find 
themselves  unwittingly  deciding  the 
battle  of  the  stage  and  the  screen. 

On  the  other  hand,  sometimes  old- 
timers  of  the  screen  return  to  find  a 
royal  welcome  awaiting  them.  Not 
always,  but  often.  When  we  hear 
and  see  such  long-past  favorites  as 
Ruth  Roland.  Blanche  Sweet,  Mil- 
dred Harris,  and  Ethel  Clayton 
blooming  anew  in  the  talkies,  I  won- 
der how  the  fans  accept  them.  The 
least  they  do  is  to  recognize  their  old 
friends. 

The  phrase,  "my  dear  public," 
should  be  more  than  that  to  the  stars, 
for  though  they  may  not  always  real- 
ize it,  it  is  their  dear  public  that  judges 
them,  judges  their  acting  and  their 
contracts  and  their  futures.  It  is 
their  dear  public  that  applauds  and 
remembers,  but  it  is  the  same  public 
that  criticizes  and  forgets.  The  en- 
tire outcome  of  any  star's  career 
hinges  on  public  approval,  which  tops 
any  other  source  of  recognition. 
"Playing  to  the  audience"  is  quite  as 
applicable  to  the  screen  as  to  the 
stage,  for  nearly  any  actress  who  has 
suddenly  found  herself  in  oblivion 
will  tell  you  that  a  nice,  overripe 
tomato  from  the  balcony  would  have 
prevented  the  unpleasant  state  of  dis- 
cord in  which  she  is  languishing. 


SHATTERED  SILENCE 


Little  girl,  you  looked  so  sweet 
Dancing  on  your  twinkling  feet; 
You  were  grace  personified 
When  you  did  that  fairy  glide ; 


When  you  laughed,  why  I  laughed,  too; 
When  you  cried — gee!  I  felt  blue. 
Then  you  ruined  everything — 
Who  on  earth  said  you  could  sing? 
L.  B.  Btrosall. 


117 


The   Master)?  of  Your  Name 


Continued  from  page  1  IS 


11.  L  >.,  yinnary  12,  ifou  have 

irkable  acting  ability,  my  «.lc:ir  boy,  in 
name  itself,  but   it  is  going  to  take 
perhuman  self-control  and  intelli- 
gence on  your  i>.irt  to  i>ut  this 
w«.>rk  and  succeed  in  it    You  have  the  num- 
ber nd    trouble   as   the 
path  of  your  birth,  and  iu>  matter  how  well 
mething  is  going  to  cut  you 
"off  fn                r  and  over  again,  unless  you 

.    ■ 
it    necessary,    and    use    every    knock    a>    a 
will    be    tempted    to    blame 
others  all  the  time,  be*  the  knowl- 

of  your  own  ability,  but  you  will  be 
i'he   vibration   i>   in  yourself,   and 
•  rely    need   it   to   learn   to   over- 
ition  and   be   the   tine  person 
are  able  to  bo.     The  greatest  element 
-  and  your  failure  lies  in  the 
number  two  of  your  emotional   hie.     You 
are   very,   very    sensitive,   touchy,   imagina- 
ry affected  by  anything  oth- 
say  or  think  about  you.  or  by  what 
you  they   think.     You  are   al 

lerful   attraction  to   women,  and  they 

will    always    [K>;er    the    life    out    of    you. 

Don't    Rati  -elf — they    would    do    it 

the   same    to   a   stupid,    ignorant    man 

with    the    same    inborn    magnetism.       But 

this  is  a  mar-.  set  on  the  stage  or 

before  die  camera,  because  you  catch  and 

hold  your  audience  by  your  very  presence, 

man  or  woman  makes  no  difference.     And 

you  are  simply  crazy  about   girls  yourself 

— that    is   the    dangerous    part.      You    will 

head  many,  many  times,  and  much 

with  it.  unless  you  learn  to  drive  your- 

with  a  tight   rein.     You  will   he   very 

essful    financially    at    times.      Salt    the 

money    away    safely,    if   you   do    not    want 

to  die  poor. 

_  R.  L.  T..  June  If..  1887.— Well,  my  dear 

wish  a  name  like  yours  had  been  mine 
from  the   first !      For  the   past   three  years 

'.ave  had  a  number 
be  sure,  and  a  good  deal  of  unhappiness,  but 

•.ill  u-e  mis,  as  you  do  every  kind  of 
negation,  for  ultimate  understanding  of  life, 

r,  and  success.  You  have  the  name 
of  a  man  who  can  become  a  really  great 
universal  artist,  able  to  express  himself  in 
almost  any  medium  he  takes  up.  All  of 
life  is  within  you,  you  are  i  -peck- 

in it:  re  the  master 

ur  environment   by  a   combinatii 
forct  not  by  de- 

termination alone.     Everythirii,'  that  you  do 
is  beautifully  planned  and  beautifully 
cuted.     You  cant  stan'!  Is,     A-  a 

g  man  you  were  immensely  attractive 
to  and  attracted  to  girls,  and  you  were  cer- 
tainly deeply  in  love  at  about  twenty-two 
-five.    But  it  is  quit  that 


your  hie  was  SO  lull  of  artistic  activity  and 
tion  that  \ou  poured  your  whole  soul 
into  that  for  many  years.      Between  thirty- 
six  and  Toily  you   tell  seriously,  completely 

in  love  ior  the  first  time,  in  the  sense  that 
it  was  not  merely  the  tire  of  youth  that 
burned  within  you.  A  man  with  the  Num- 
ber Six  as  the  total  digit  of  his  name,  like 
you,  can  marry  at   almost  any   tune  in  his 

but  there  has  always  been  cross-bear- 
ing in  your  love  since  you  wire  a  young 
man,  and  1  cannot  promise  that  you  will 
ever  escape  this.      You  have  the   power   to 

above  it  if  you  will.  You  are  very 
fiery  and  impulsive,  and  have  line  ability  as 
a  public  speaker  or  writer.  You  have 
all  the  money  you  feel  you  need  right  now. 
which  is  true  wealth,  but  even  as  the  world 
measures  wealth  you  are  bound  to  become 
a   very  rich  Hi 

M.  F.  C  October  15.  1904.— You  are  one 

of  the  world's  kindest,  most  generous  and 
warm-hearted  girls,  dear,  hut  it  is  not 
bringing  you  any  returns  in  love  or  money 
or  gratitude  so  far,  1  know.  What  you 
want  more  than  anything  else  is  a  happy 
home  and  children.  Right  now  there  seems 
to  he  a  chance  for  them.  You  know  at 
least  one  man — and  if  you  do  not  yet  know 
the  either,  you  will  soon— who  could 
you  what  you  want  and  who  likes  you.  I 
will  confess  to  you  that  your  large  digit 
in  love  is  a  sign  of  difficulty  to  he  • 
come  and  of  shadows  now  and  then.  But 
you  have  the  number  of  love  on  the  mate- 
rial side,  which  means  that  you  will  suc- 
ceed best  if  you  do  not  think  of  the  mate- 
rial, physical  results  more  than  about 
dreams  and  impractical  romance.  Mar- 
riage to  you.  no  matter  how  much  you  and 
your  husband  love  each  other,  will  be  prac- 
tical and  you  will  he  most  satisfied  in 
that  way.  So  marry  now,  when  you  can, 
or  wait  about  two  years  more  and  you 
will  have  two  to  choose  from.  You  have 
a  great  deal  of  originality  and  creative 
power,  and  one  thing  you  must  avoid  like 
the  plague  is  dwelling  on  possible  misfor- 
tune or  failure.  Y<  u  will  be  planting  and 
ng  and  watering  the  seed  of  failure 
right  before  your  own  eyes.  Keep  your 
whole  attention  fixed  on  successful  achieve- 
ment and  you  will  attain  it,  as  this  par- 
ticular effect  is  part  of  your  most  power- 
ful vibration.  And  remember  that  you  can 
cause  yourself  a  dreadful  lot  of  grief  by 
d"ing  too  much  for  other  people,  without 
doing  them  any  good  in  the  end.  You  have 
doing  that  all  your  life,  haven't  you'' 
re  you  were  seven  you  had  hurd< 
.  and  between  fourteen  and  twenty-one 
things  were  pretty  awful.  But  you  can 
improve  them  now. 


THOSE  •BACKGROUNDS" 

"I   haven't  taken  that  tip  yet." 
Then     she     was     photographed     in 
front  of  a  bookcase,  with  that  volume 
of   Schopenhauer  that  got  so  much 
publicity  a  while  a 


A  rk  show  girl  harped  into 

for  film  work.     A  press 

ork  up  a  back- 

the  little  pel   got   along 

until  he  asked  her  what 

terature  she  went  in  for. 

"Oh.    anything-  ng,"    said 

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Off 

By    Vivian    Grey 


It  begins  with  a  foolish  prank 
at  a  wild  college  party.  Rosma 
Ainsley,  beautiful,  thoughtless, 
gay,  is  "auctioned  off"  to  Illo 
Landon,  wealthy  man  about  town. 
Very  soon,  what  started  as 
nothing  more  than  a  gesture  of 
folly  becomes  desperately  serious. 
Rosma  goes  to  Landon's  apart- 
ment with  a  girl  friend  and  an- 
other man.  Landon  makes  love 
to  her,  but  she  escapes  him.  It 
seems  as  if  she  had  lost  forever 
the  love  of  Bob  Whitney  and 
lost  besides  the  respect  of  the 
community  in  which  she  lives. 

Rosma  goes  to  Landon  and 
tells  him  that  she  will  marry  him, 
but  he  refuses,  saying  that  he  is 
not  the  marrying  sort.  She 
leaves  him  depressed,  defeated. 
Things  look  black  for  the  girl, 
and  then  of  a  sudden  a  situation 
develops  which  sweeps  the  reader 
along  in  its  furious  pace. 

"Auctioned  Off"  is  a  love  story 
very  much  in  the  tempo  of  the 
times,  done  with  deep  feeling  and 
an  eye  for  the  dramatic  which  is 
characteristic  of  all  its  talented 
author's  work.  It  belongs  on 
your  book  shelf. 


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TOLIShTRR 


70-10  srvtNTH  AVE.' 
NtW  YOHKCITY 


A  Confidential  Guide  to  Current  Releases 

Continued  from  page  70 


"Beau  Bandit"—  RKO.  Pleasant  en- 
tertainment, with  Rod  La  Rocque  as 
gaudily  clothed  bad  man,  with  a  clever 
sense  of  justice.  A  villain  hires  the 
bandit  to  murder  his  rival  in  love. 
>rge  Duryca,  Doris  Kenyon,  Mitchell 
Lewis,   Charles   B.   Middleton. 

"Rough  Romance"  —  Fox.  Superb 
scenery  is  background  of  ordinary  lum- 
ber-camp yarn,  (ieorge  O'Brien  proves 
that  he  is  excellent  in  talkies,  as  lum- 
berjack in  love  with  storekeeper's 
daughter.  Some  shady  deals  brew  trou- 
ble. Heroine  is  Helen  Chandler.  An- 
tonio Moreno,  Noel  Francis,  Eddie 
Borden. 

"Florodora  Girl,  The"— Mctro-Gold- 
wyn.  Much-heralded  film  is  disappoint- 
ing, if  you  expect  too  much.  Supposed 
to  be  life  in  gay  '90s,  but  incorrect  as 
to  details.  Marion  Davies  excellent  as 
vapid  show  girl  of  past.  Lawrence  Gray 
all  right  as  leading  man. 

"Lady  of  Scandal,  The"— Metro-Gold- 
wyn.  Drawing-room  drama  with  the 
old,  reliable  plot  of  show  girl  and  gen- 
tleman of  birth,  and  hostility  of  gen- 
tleman's family.  English  accent  ramp- 
ant. Ruth  Chatterton  wasting  her  tal- 
ent, Basil  Rathbone,  Ralph  Forbes, 
Nance   O'Neil. 

"Born  Reckless" — Fox.  Gunman  glo- 
rified in  underworld  film,  well  directed 
and  •  acted.  Catherine  Dale  Owen  as 
society  queen,  Edmund  Lowe  as  hard- 
boiled  hero,  though  miscast.  Excellent 
roles  by  Paul  Page,  Lee  Tracy,  Ben 
Bard,  Warren  Hymer. 

"Ladies  of  Leisure" — Columbia.  A 
party  girl  falls  in  love  with  an  artist, 
who,  like  most  screen  artists,  has  a 
grand  dame  of  a  mother  whose  objec- 
tions make  the  plot  go  round.  Barbara. 
Stanwyck  good.  Ralph  Graves,  Lowell 
Sherman,  Marie  Prevost,  Nance  O'Neil. 
Humor  saves  it. 

"Big  Pond,  The" — Paramount.  Mau- 
rice Chevalier,  almost  songless.  French- 
man brought  to  this  country  by  chew- 
ing-gum king  to  show  him  up  and  break 
romance  with  American's  daughter. 
What  does  he  do  but  show  our  boys 
how  to  make  gum,  and  win  the  girl, 
too?     Voila!     Claudette  Colbert  good. 

"Man  from  Blankley's,  The"— War- 
ner. John  Barrymore  in  broad  farce, 
as  nobleman  taken  for  a  hired  "guest" 
to  fill  in,  because  he  becomes  drunk 
and  gets  into  wrong  house.  Emily  Fitz- 
roy,  Loretta  Young,  the  latter  turning 
out   to   be   the   visitor's   old   sweetheart. 

"Journey's  End"— Tiffany.  Faithful 
reproduction  of  outstanding  stage  war 
play.  Devoid  of  love  interest  and  dra- 
matic formula  of  screen,  but  strangely 
revealing  life  in  a  dugout.  Cast  in- 
cludes Anthony  Bushell,  Charles  Ger- 
rard,  Billy  Bevan,  Colin  Clive,  Ian  Mac- 
laren,  David  Manners. 

"Lady  To  Love,  A" — Metro-Goldwyn. 
Yilma  Banky's  first  all-talking  effort  is 
admirable.  A  grape  grower  picks  a 
waitress  for  his  wife,  sends  her  a  young 
man's  photo  as  his  own,  and  tilings  hap- 
pen. Edward  G.  Robinson  brilliant, 
Robert  Ames  satisfactory  as  young  man. 

"Lummox" — United  Artists.  Wini- 
fred Westover's  touching  portrayal  of 
a  kitchen  drudge's  lifelong  fight  for  vir- 
tue, with  one  error,  one  betrayal,  and 
finally  a   cozy   haven.     Big  cast,  all  do- 


ing well.  Dorothy  Janis,  Ben  Lyon, 
William  Collier,  Jr.,  Edna  Murphy,  Sid- 
ney Franklin. 


RECOMMENDED— WITH 

RESERVATIONS. 

"On  the  Level" — Fox.  Decidedly  be- 
low level  is  the  plausibility  of  this  story 
of  sweetly  trustful  steel  worker,  Victor 
McLaglen,  and  vampish  member  of 
crook  gang,  Lilyan  Tashman.  The  lat- 
ter gives  picture  certain  attraction. 
William   Harrigan,    Fifi   Dorsay. 

"Sweet  Mamma" — First  National.  Te- 
dious jumble  of  night-club  stuff,  bogus 
money,  gangsters,  and  such,  too  dull  to 
be  relieved  by  Alice  White's  acting  or 
shapeliness  of  her  legs.  Kenneth  Thom- 
son as  gangster  is  nice  business  man. 
David  Manners,  Rita  Flynn,  Robert 
Elliott. 

"Swing  High" — Pathe.  Drama  under 
the  big  tent  fifty  years  ago,  with  young 
love,  a  hard-drinking  vamp,  and  banjo- 
playing  swain,  plus  a  big  accident  aloft. 
Helen  Twelvetrees  wistful  as  the  girl; 
Fred  Scott  the  warbling  boy  friend; 
Dorothy  Burgess  the  siren  who  lays  it 
on  thick.     Several  others  in  bits. 

"Sweethearts  and  Wives" — First  Na- 
tional. Billie  Dove  in  another  film  that 
does  not  quite  make  the  grade,  as  Eng- 
lish noblewoman  disguised  as  maid.  She 
remains  a  good  amateur.  Sidney  Black- 
mer  and  Leila  Hyams  elope,  quarrel, 
and  are  Involved  in  murder  investiga- 
tion.    Clive  Brook,  John  Loder  present. 

"Love  Among  the  Millionaires" — Par- 
amount. Be  nice  to  youthful  railroaders 
in  overalls,  or  little  Cinderella  won't 
make  Park  Avenue.  A  nice  bit  of  ba- 
loney for  studio  walls.  Clara  Bow,  as 
hash-house  girl,  is  nice  to  Stanley  Smith. 
Stuart  Erwin,  Richard  Gallagher,  Mitzi 
Green. 

"Bad  One,  The" — United  Artists.  An- 
other of  those  pictures  in  which  the  bad 
girl  is  really  and  truly  a  good  little  girl 
just  being  cute,  you  know,  even  though 
an  inmate  of  a  dive.  Dolores  del  Rio's 
debut  in  all-talking  film.  Edmund  Lowe, 
minus  uniform,  much  himself.  There's 
a   murder   charge   and  a    flight. 

"One  Romantic  Night" — United  Art- 
ists. Lillian  Gish's  long-delayed  talkie 
debut  adds  nothing  to  the  glory  of  Gish 
or  screen.  Reminds  one  of  church  the- 
atricals. Incident  in  life  of  stuffed  royal 
robes  and  uniforms.  Rod  La  Rocque, 
Conrad  Nagel,  Marie  Dressier,  O.  P. 
Heggie. 

"In  Gay  Madrid" — Metro-Goldwyn. 
Neither  gay  nor  in  Madrid,  it  is  a  col- 
lege-campus film  supposed  to  be  a  chap- 
ter in  the  life  of  a  gay  young  chap 
whose  many  loves  make  up  his  educa- 
tion. Ramon  Novarro,  Dorothy  Jor- 
dan, Lottice  Howell,  and  numerous 
others. 

"Redemption" — Metro-Goldwyn.  Tol- 
stoi's "Living  Corpse,"  without  philoso- 
phy and  analysis  of  character,  is  thin 
remnant,  not  compensated  by  John  Gil- 
bert's acting.  Hero  falls  in  love  with 
fiancee  of  friend,  marries  her,  later  pre- 
tends suicide  so  wife  can  marry  his 
friend.  Eleanor  Boardman,  Renee 
Adoree. 


1 1') 


"Ship   from    Shanghai.    The' 
Goldwyn.     It  carries  .1  cargo  of  ran) 
Steward  »ntrol  ot   ship,  starves 

the    nun.     leers"   at    tin-    leading    lady. 
Jus!  before  the  gi  rifice,  heroine 

s,  "Yon're  mad!"  and  the  poor  nut 

erboard  to  death,  and  th< 
ived  from  than  death." 

Kay   Johnson.    Louis    Wolheim,    Conrad 
irmel  M\ 

"Captain    of    the    Guard"—  l'ni\  ersal 

ind     dull,      yet      pretentious 

French    Revolution.      Laura    La 

Plani  ider  of  rebel  John 

singer    but    inadequate 

e   not    enough   to 

teretta. 


Information,   Please 

tinned   from   page    102 

Pf  it  isn't  unusual  to 

write  information  to  The  Oracle  and  ask 
me.  am  I  grateful  I  Try  as  I  may.  I  can't 
know  everything.  1  passed  along  last 
month  the  informal  ntribute.    I'm 

>till  sticking  I  that  Joan  Craw- 

was  born  in  1906.    You're  right;  when 
Doug.  Jr..  entered  pictures,  his  birth  date 
December  1".  1910.    I  heard 
reports    at    that    time    that    he    was    really 
older  than  that,  but  I  have  never  been  able 
\act  age. 

Nl  SAB. — Alas  for  those  hones  that  your 
answers  would  come  out  in  the  next  ■ 
They  never,  never  do — and  can't.  Fir>t 
Just  Hollywood,  Cali- 
fornia, would  reach  Dick  Grace.  If  it  is 
possible  to  get*  stills  of  the  plane  crashes 
in  "Wings,"  the  Paramount  studio  is  the 
place  to  send  for  them.  Dorothy  Lee  is 
about  eighteen  and  can  be  reached  at  RKO 
studios.     Anita  Page  is  twenty. 

Mi~>  X.  V.  Z. — Send  a  quarter  to  the 
Metro-Goldwyn  studio  for  Norma  Shear- 
er's picture.  Norma  doesn't  sing,  because 
she  has  not  a  singing  voice.  John  B> 
American  and  married  to  Mara  lite  L 
Jeanctte  MacDonald  is  twenty-three  and 
single. 

Mademoiselle  La  Coxte. — What  a 
fancy  signature !  Fay  Wray  was  born  in 
Wrayland.  Alberta.  Canada.  Her  parents 
moved  to  Salt  Lake  City,  where  Fay  went 
to  school,  until,  because  of  her  screen  amhi- 

her  parents  went  to  Hollvw 
attended  high  school  there.  She  went  with 
her  mother  to  the  casting  office  of  Century 
Comedies  and  the  producer,  seeing  her. 
offered  her  a  job.  She  played  small  i 
with  various  companies  until  Von  Strohehn 
engaged  her  for  "The  Wedding  March." 
;arents  now  live  in  Hollywood.  Fay 
has  brown  hair,  blue  eyes,  is  five  feet  three 
and  weighs  1 14. 

F.    C. — R>  Urt    Montgomery    is,    • 

days,   why   g;rls   leave  the 

born    in  N< w 

1  He   married    Fliza- 

beth   Allen  in   1928.  and   the   stork   i^   now 

ted. 

Dobothy    Lee.—  '  >    the    tallest 

might  now 
cred  Chi"  !  the 

rlotte 


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Orpi.  I    II    I 
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Nrw  Yorkdly. 


JO    0»Y»    TRI»l     '(■■■ 

PRIMSCT    LABORATORIES 
O.pt.   14  SS    Wi.l  42nd   SI. 


120 

is  tligh  onto  six  feet.  Usually,  however, 
five  feet  six  is  the  maximum  height  for  a 
girl  to  be  considered  for  the  screen.  Gwen 
I -ii-  i>  five  feel  seven,  as  is  Alma  Rubens. 
There  arc  no  movie  schools  recognized  by 
the  motion-picture  industry.  In  these  days 
Ikies,  "Hi's  hest  chances  lie  in  making 
first  "ti  the  stage,  and  then  trying  for 
films. 

E.  S. — The  prison  scenes  in  "The  Big 
House"  were  made  at  the  studio,  with  sets. 
Stanley   Smith  is  twenty-three. 

Lewis  Thompson. — i  don't  know  just 
what  address  would  reach  Lya  de  Putti,  as 
she  has  long  since  left  the  movies.  She  is 
in  Xew  York  now  to  try  the  stage.  No, 
she  isn't  n  rried.  Marian  Nixon  is  Mrs. 
Edward  Hillman,  Jr.  Mary  Nolan  is  five 
feet  six,  Richard  Walling  about  six  feet. 
Ramon  Novarro  gives  his  height  as  five 
feet  ten. 

\  Vallee  Fax. — Then  you'll  be  dis- 
tressed to  learn  that  no  more  movies  are 
planned  for  Rudy  just  now — he's  better  on 
the  radio.  He  was  born  in  1903.  I  doubt 
it  lie  answers  fan  mail,  but  you  can  write 
him  in  care  of  National  Broadcasting  Com- 
pany. Fifth  Avenue,  New  York.  He  has 
no  fan  club  that  I  know  of.  A  fan  club 
is  an  organization  in  tribute  to  some  movie 
star,  the  members  of  which  correspond  with 
one  another.  Robert  Montgomery  is 
twenty-six,  John  Holland  thirty.  Mar- 
garet Mann  was  born  in  Aberdeen,  Scot- 
land ;  Janet  Gaynor  in  Philadelphia ;  Lo- 
retta  Young  in  Salt  Lake  City ;  Sally 
Blane  in  Salida,  Colorado ;  Greta  Garbo 
in  Stockholm,  and  John  Boles  in  Green- 
ville, Texas.  Estelle  Taylor  was  born  on 
May  20th;  June  Marlowe  and  Paul  Ellison 
November  6th. 

Miss  Virginia  Mexzel. — Rudy  Vallee 
has  blond  hair  and  gray  eyes — see  above. 
His  real  name  is  Hubert  Prior  Vallee. 
His  marriage  occurred  about  three  years 
ago  and  was  annulled  after  three  months. 
I  don't  know  about  brothers  and  sisters. 
Rudy  is  American.  Mary  Brian  is  twenty- 
two,  five  feet  two,  and  weighs  105.  Dark- 
brown  hair,  hazel  eyes.  Nancy  Carroll  is 
five  feet  three  and  weighs  116.  Clara  Bow 
is  a  half  inch  taller  and  weighs  a  pound 
less. 

Sammy. — My  old  detecatif  instinct  tells 
me  you're  competing  in  one  of  these  con- 


Information,  Please 

tests,  and  wanting  me  to  do  all  the  work. 
Marguerite  Churchill  was  the  young  ac- 
tress who  made  her  film  dehut  in  "The 
\  aliant."  She  is  being  teamed  now  with 
Russell  Gleason.  David  Rollins  is  the  ac- 
tor who  is  noted  for  shy  boy  roles.  Jean- 
ette  J. i 'If  was  once  an  organist.  It  was 
Doris  Hill  in  "The  Better  'Olc."  James 
Murray  was  once  a  theater  doorman.  As 
to  who  was  once  an  insurance  agent  before 
his  movie  career  began — with  the  world 
just  full  of  insurance  agents,  that  would 
apply  "to  dozens  of  actors.  Carol  Demp- 
ster, no  longer  on  the  screen,  is  the  only 
player  I  can  think  of  with  a  birthday  on 
January  16th.  To  join  the  Ronald  Col- 
man  Club,  write  to  Harry  Baumgartner, 
1406   Kentucky   Avenue,   Joplin,    Missouri. 

Fanxie  Kolaixe. — John  Barrymore  is  a 
film  star;  his  brother  Lionel  is  directing. 
Their  nephew,  Arthur  Rankin,  also  plays 
in  pictures.  And  of  course  Dolores  Cos- 
tello  is  a  Barrymore  now.  Doug,  Jr.,  and 
Jobyna  Ralston  were  featured  together  in 
"The  Toilers."  Colleen  Moore  and  John 
McCormick  were  divorced  last  spring. 
Fay  Wray  is  Mrs.  John  Monk  Saunders. 
None  of  the  Lees  in  pictures — except  the 
kid  brothers,  Frankie  and  Davey — were  re- 
lated. Laura  La  Plante  is  American. 
Blanche  Sweet  was  born  June  18th. 

M.  M. — Colin  Clive  played — and  is  still 
playing — the  lead  in  "Journey's  End"  on 
the  stage  in  London,  and  was  in  this  coun- 
try only  long  enough  to  make  the  film. 
He  was  born  of  English  parents  in  St. 
Malo,  France,  January  21,  1900.  In  June, 
1929,  he  married  Jeanne  de  Casalis,  a 
French  actress. 

Betty  Short. — There  are  clubs  and 
clubs  for  Billie  Dove.  The  one  nearest 
you  is  Arline  Rider's,  937  Seventeenth  Ave- 
nue, Longview,  Wisconsin.  Billie  was  born 
in  New  York,  May  14,  1903.  She  once 
posed  for  heads  on  magazine  covers,  and 
got  her  first  screen  offer  through  her  pic- 
tures. She  was  recently  divorced  from 
Irvin  B.  Willat  and  her  real  name  is  Lil- 
lian Bohny. 

Merely  Inquisitive. — Merely  seems  a 
mild  word  for  it!  Almost  no  stars  give 
home  addresses,  because  they  want  the  stu- 
dios to  see  how  much  fan  mail  they  re- 
ceive. Marlene  Dietrich  is  with  Para- 
mount  and   Marie    Saxon   can   be   reached 


through  Variety,  154  West  Forty-sixth 
Street,  New  York.  That's  a  theatrical 
paper  owned  by  her  father-in-law.  That's 
just  a  joke  about  Bill  Haines  and  Polly 
\1< nan.  Jack  Oakie  was  born  in  Sedalia, 
.Missouri.  He's  a  blue-eyed  blond.  Mary 
Brian's  hazel  eyes  first  opened  in  Corsi- 
cana,  Texas,  and  Stanley  Smith's  blue  ones 
looked  out  on  Kansas  City,  Missouri.  The 
blonde,  blue-eyed  Lilyan  Tashman  was 
born  in  New  York.  Ralph  Forbes  has  the 
native  English  complexion,  with  dark-blue 
eyes.  Lily  Damita  has  brown  eyes  and 
blond  hair ;  she  was  born  in  Paris.  Eddie 
Nugent  was  a  New  York  boy ;  his  eyes  are 
green — but    not    through    jealousy. 

B.  Gruxkemeyer. — I'm  afraid  your  in- 
terest in  Helene  Chadwick  is  a  little  late. 
"Men  Are  Like  That"  is  the  only  film  she 
has  played  in  in  the  past  year.  Flelene  was 
born  in  Chadwick,  New  York,  November 
29,  1897.  She's  a  brown-eyed  blonde,  five 
feet  seven  and  weighs  130.  She  is  divorced 
from  William  Wellman. 

Tex. — That  handsome  young  prince  in 
"They  Had  to  See  Paris"  was  Ivan  Lebe- 
deff.  Buddy  Rogers'  Fan  Club  has  head- 
quarters with  Wilfred  Tremblay,  Box  287, 
Portland,  Maine.  His  new  film  is  "Heads 
Up."  Nancy  Carroll's  next  is  "Laughter." 
Her  club  nearest  you — and  not  very  near 
— is  in  charge  of  Mrs.  Frances  Bell,  412 
East  Orange  Street,  Lancaster,  Pennsyl- 
vania. Stanley  Smith  is  five  feet  eleven 
and  a  half  and  weighs  160.  He  was  born 
January  6,  1907.  Fredric  March  is  mar- 
ried to  Florence  Eldridge,  and  Richard 
Gallagher  to  Pauline  Mason.  Helen  Kane 
is  twenty-two,  Mary  Brian  the  same.  Mar- 
jorie  and  Alice  White  are  not  related. 
Jackie  Coogan  will  return  to'  the  screen  in 
"Tom   Sawyer." 

Nadixe  Morgan. — Yes,  "Abie's  Irish 
Rose"  was  Nancy  Carroll's  first  film.  Her 
second  was  "Easy  Come,  Easy  Go."  Her 
hair  was  always  red — though  not  always 
the  same  shade.  See  above.  Trixie,  in  the 
July  issue,  did  not  give  her  full  name  and 
address.  Back  numbers  of  Picture  Play' 
can  be  obtained  by  sending  a  quarter  for 
each  copy  wanted  to  the  Subscription  De- 
partment of  Picture  Play.  We  published 
a  story  about  Nancy  in  the  May,  1929, 
issue  and  expect  to  have  another  interview- 
soon.  We  have  only  enough  pictures  for 
use  in  the  magazine. 


Richard  Arlen,  Mary  Brian,  Marion  Shil- 
ling. Bruce  Rogers,  Marlene  Dietrich,  Charles 
Ruggles,  Warner  Olnnd,  Ruth  Chatterton, 
Clara  Row,  Clivp  Rrook,  Charles  ("Ruddy") 
Rogers.  Gary  Cooper,  James  Hall.  William 
Powell,  Nancy  Carroll,  .lean  Arthur,  Jack 
Oakle,  Kay  Francis.  Fredric  March.  Jeanette 
MacDonald,  Lillian  Roth,  Richard  Gallagher, 
Mitel  Green,  Harry  Green,  at  Paramount 
Studio,  Hollywood,  California. 

Greta  Garbo,  Leila  Hyams,  Bessie  Love, 
Edward  Nugent,  Gwen  Lee,  Ramon  Novarro, 
Norma  Shearer,  John  Gilbert,  William 
Haines,  I. on  Chancy,  Rem'e  Adoree,  Marion 
Davies,  Robert  Montgomery,  Ray  Johnson, 
Karl  Dane.  Dorothy  Sebastian.  Mary  Doran, 
Charles  King,  Raymond  Hackett,  Wallace 
Beery,    Raqnel    Torres.    Joan    Crawford,    Nils 

Asther,  Conrad  Nagel,  Josephine  Dunn,  Anita 
Page,  Poster  Keatoii.  John  Mack  Brown, 
Lewis  Stone,  at  the  Metro-Goldwyn  Studio, 
Culver  city.  California. 

Ronald   Colman,   Douglas   Fairbanks,   Mary 

Pickford,     Norma    Talmadge.     Chester     Morris, 

Gilbert    Roland,   Evelyn    I. aye.   Joan    Bennett, 

Dolores   del    Rio.  at    the  United   Artists   Studio. 

7100   Santa    Moniea    Boulevard,   Los  Angeles, 

I  'nlifornia. 

Alexander  Gray,  Bernice  Glaire,  Billie 
Dove,  Richard  Barthelmess,  Dorothy  Mac 
kaill.  Sidney  Blackmer,  Inez  Courtney,  Mari- 
I\n  Miller.  Alice  White.  Ian  Keith,  and 
Douglas  Fairbanks,  Jr..  at  the  First  National 
Studio,   Burbank,  California. 

I.upc  Yelez,  Mary   Nolan.   Lewis  Aires,  John 

Roles,    Jeanette    i. nff,    Barbara    Kent.    Glenn 


Addresses  of  Placers 

Tryon,  at  the  Universal  Studio,  Universal 
City.  California. 

William  Boyd,  Robert  Armstrong,  Fred 
Scott,  Ann  Harding,  Helen  Twelvetrees.  and 
Russell  Gleason,  at  the  Pa  the  Studio,  Culver 
City,  California. 

George  O'Brien,  Edmund  Lowe,  Earle  Foxe, 
Janet  Gaynor,  Kenneth  MacKenna,  Dixie  Lee, 
Mona  Maris,  Fifi  Dorsay,  Charles  Farrell, 
Victor  MacLaglen,  Lois  Moran,  Frank  Al- 
bertson,  Farrell  MacDonald,  Marguerite 
Churchill,  David  Rollins,  Warner  Baxter, 
Sharon  Lynn,  at  the  Fox  Studio,  Western 
Avenue,  Hollywood,  California. 

Edna  Murphy,  John  Barrymore,  Al  Jolson, 
Irene  Delroy,  at  the  Warner  Studios,  Sunset 
and  Bronson,   Los  Angeles,   California. 

Sally  Blane,  Hugh  Trevor,  Bebe  Daniels, 
Bettv  Compson,  Olive  Borden,  and  Richard 
Hix.  at  the  RKO  Studio,  780  Gowcr  Street, 
Hollywood,  California. 

Allene  Ray,  6912  Hollywood  Boulevard, 
Hollywood,  California. 

Robert  Frazer,  li.'tofl  La  Mirada  Avenue, 
Los   Angeles,    California. 

Patsy  Ruth  Miller,  808  Crescent  Drive, 
Beverly   Hills,   California. 

Robert  Agnew,  fi.'t.">7  La  Mirada  Avenue, 
Hollywood,   California. 

Dorothy  Revier,  1307  North  Wilton  Place, 
Los   Angeles.   California. 

Julanne  Johnston.  Garden  Court  Apart- 
ments. Hollywood,  California. 

Malcolm  McGregor,  6048  Selmn  Avenue, 
Hollywood,    California. 

Jackie  Coogan,  678  South  Oxford  Avenue, 
Los   Angeles,   California. 


Ivor  Novello,  11  Aldwych,  London,  W.  C.  2, 
England. 

Harold  Lloyd,  6640  Santa  Monica  Boule- 
vard, Hollywood,  California. 

Anna  May  Wong,  241  N.  Figueroa  Street, 
Los  Angeles,  California. 

Eileen  Percy,  154  Bcechwood  Drive,  Los 
Angeles,  California. 

Herbert  Rawlinson,  1735  Highland  Street, 
Los  Angeles,  California. 

Forrest  Stanley,  604  Crescent  Drive,  Bev- 
erly Hills,  California. 

Gertrude  Astor,  1421  Queen's  Way,  Holly- 
wood, California. 

Lloyd  Hughes,  616  Taft  Building,  Holly- 
wood, California. 

Yirginia  Brown  Faire,  1212  Gowcr  Street, 
Hollywood,  California. 

Theodore  von  Eltz,  1722%  Las  Palmas, 
Hollywood,  California. 

William  S.  Hart,  6404  Sunset  Boulevard, 
Hollywood,  California. 

Estelle  Taylor,  5254  Los  Feliz  Boulevard, 
Los  Angeles,   California. 

Pat  O'Malley,  1832  Taft  Avenue,  Los  An- 
geles.  California. 

Ruth  Roland.  382S  Wilshirc  Boulevard,  Los 
Angeles,    California. 

Barry  Norton.  855  West  Thirty-fourth 
Street,  Los  Angeles,  California. 

George  Duryea,  5950  Franklin  Avenue, 
Hollywood,   California. 

Xeil  Hamilton,  6118  Selma  Avenue.  Holly- 
wood.  California. 

Laura  La  Plante,  Margaret  Livingston,  and 
Dorothy  Revier.  1889  Taft  Avenue,  Holly- 
wood, California. 


121 


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J& 


® 


That's  his 
signature 


\Oi  K  health  —  or  your  life  —  may  depend  on  the  accu- 
racy of  the  prescription  the  doctor  writes  for  you.  He 
makes  certain  it  is  right  hefore  signing  his  name  to  it. 

But  he  does  not  cheek  the  prescription  more  care- 
fully than  manufacturer  or  store  owner  checks  the 
advertisement  appearing  over  his  name. 

Look  at  any  one  of  the  advertisements  in  this  maga- 
zine. Its  sponsor  is  well  known.  That's  his  signature 
in  clean,  cold  type — and  he  realizes  that  incorrect  state- 
ments above  it  would  jeopardize  the  health  —  the  very 
existence  of  his  business. 

Continued  advertising  invariably  is  proof  of  honest 
advertising  and  honest  goods.  You  and  the  millions 
of  others  who  consult  the  advertising  before  you  buy, 
have  made  advertising  one  of  the  great  forces  of  modern 
business.  ^  ou  have  made  it  important  to  the  manufac- 
turer, to  the  merchant  —  and  to  yourself. 


Consult  the  advertising 
with  confidence 


TECHNICOLOR 


SOME    OF   THE 
PRODUCTIONS 


BRIGHT  LIGHTS,  with  Dorothy  Mockaill  (First  National);  DIXIANA, 
with  Bebe  Daniels  (Radio  Pictures),  Technicolor  Sequences; 
FOLLOW  THRU,  with  Charles  "Buddy"  Rogers  and  Nancy  Carrol 
(Paromount);  SWEET  KITTY  BELLAIRS,  with  Claudia  Dell  and 
Perry  Askam  (Warner  Bros.);  TOAST  OF  THE  LEGION,  with  Bernice 
Claire  and  Walter  Pidgeon  (First  National);  VIENNESE  NIGHTS, 
all-s'ar  cast  (Warner  Bros);  WHOOPEE,  starring  Eddie  Cantor 
(Samuel  Goldwyn — Florenz  Ziegfeld). 


Marion 

as  she  is 

Through  even  the  gray,  shadowy  limitations  of 
black  and  white  films,  the  color  of  Marion  Davies's 
personality  reached  out  and  touched  the  hearts 
oi  millions. 

Now,  you  have  a  chance  to  see  that  colorful 
personality  without  limitations — in  Technicolor.  To 
enjoy  to  the  full  the  radiance  of  a  charm  that  has 
won  her  unique  position  in  filmdom. 

With  Technicolor's  aid  you  see,  at  last,  reality 
on  the  screen.  Color — lavish,  laid  on  with  Nature's 
true  touch — fires  your  imagination.  You  see  the 
stars  ab  they  really  are. 


w 

in 


Tech 


MARION  DAVIES  gives  the  screen  one  of 
the  finest  performances  of  her  colorful  career  in  Metro- 
Goldwyn-Mayer's  musical  vehicle — "The  Florodora  Girl," 
embellished  with  Technicolor  scenes. 


n  icolor 


:AD  THE  BEST-STREET  ^SMITH'S  MAGAZINES 


» 


M 


Me\ry  Nolqn 
Modest  Stein 


Like  Knights 
of  Old 

YE  OLDE  KNIGHTS  used  to  fight  to  protect  the  fair  fame 
of  the  devices  emblazoned  on  their  shields.  And  the 
knight  without  escutcheon  was  looked  upon  askance. 
He  had  no  name  to  protect.  He  could  live  fairly  or 
unfairly,  as  his  whims  directed. 

Modern  knights  of  industry  have  devices — the  adver- 
tised trade-marks  of  their  products.  They  must  safe- 
guard the  reputation  of  these  trade-marks  to  keep  them 
worth  while. 

Advertising  throws  a  powerful  light  on  a  trade-mark. 
If  it  proves  worthy,  it  gains  popularity  and  confidence. 
If  it  is  shown  to  be  unworthy,  it  quickly  fails. 

So  you  can  be  sure  that  every  consistently  advertised 
product  is  good.  The  advertising  test  has  proved  it. 
The  name  of  its  maker  stands  behind  it.  The  trade- 
mark is  your  warranty  of  satisfaction  and  true  quality. 


Read  the  advertisements  to  choose 
what  you  would  buy 


Just  as  EASYas  it  looks 


A 

]f 

6 

lL 

a 

(o\ 

a 

i 

V>\J    o 

• 

i 
• 

to  become  a  popular  musician 

this  delightful,  simple  as  A-B-C  way 

OTOT    cheating    yourself    out    of    throbbing   ballads,    stirring   marches. 
<J  musical  good  tunes.     Stop  think-    sparkling  sonata-;,  restful  etudes  fol- 

':at    learning-    music    is    nothing     low  in  short  order.     No  standing  still. 
>n  of  monoto-     IV  -  rapid.     In  this  way, 

id    harsh-sounding     become  a  capable  performer  months 
sooner    than    you    could    ever    expect 


:hs   and   years    of    difficult   tech 

nique   and   dry-as-dust    theory    under 

thumb  of  a  private  teacher. 

Don't    let     others     talk     you     into 

believing  any  such  thing.     It's  ridicu- 

itely!     And  we've  already 

ed  it  to  the  con  tisfaction 

over    600.000    enthusiastic    stu- 


to  the  old-fashioned  way.  Yet,  no 
matter  what  instrument  you  select, 
the  cost  of  learning  is  the  same — just 
an  average  cost  of  only  a  few  cents 
a  day. 

Not  only  that,  you  receive  all  the 
music    you    need    (//    no    extra    cost. 


who  have  learned  to  play  their     With  every  lesson  comes  a   specially 

selected  and  graded  piece,  which  is 
yours  to  keep,  enjoy  and  play  to  your 
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favorite  instrument  right  at  horn 
without  a  teacher. 

You're  Never  in  Hot  Water 
Take  a  l-x»k  at  the  above  diagram, 
loesn't  it  ?     Well,   it's 
ry    bit    as     simple    as     it     looks. 
First  a  note — then  a  letter.     Plenty 
clear    instructions    tell    you    how 
each  bar  is  played — lots  of  diagram 
pictures    shr^-    you    how.    then    you 
and   hear  it.      Every- 
thing    to     make     learning     a     joy. 
make  you   lose   patience. 
In    fact,    t! 
f  Music  ha*  made  the  read- 
nd  playing  of  mu-ic 
simple  that  you  don't 
know  one  note 
mother  to  L 

Play  Real  Tune-. 
From  the  Start 

-  first  thrill  come* 
with  your  very  fir«- 
son 

lay  by  actual  n 
Dreamy    waltzes,     heart- 


PICK    YOUR 
INSTRUMENT 

Piann  Vielin 

Organ  Clarinet 

Flute 
Cnrnet  Saxephene 

Trtmbeae  Harp 

Pl'cele  Manrlelm 

Telle 
Hi. nun    Steel    Cuitar 
Biaht  Smaini 
Plane  Accnrdien 
Italian  and  German 
Accerdien 
Vnice    and    Sneeth    Culture 
Haraanny    and    Cemne»'tien 

Drunae  and  Trent 

Antamatic     Finner    Central 

Bmi    (Pleetrum. 

5-Strinn    er    Teneri 

Juniart'    Plan*  Ceurie 


Play  the  "Blues"  Away 

How  can  you  l>c  content  to  sit  around 
at  party  after  party  and  listen  to  others 
do  all  the  playing — hear  them  receive  all 
the  compliments — see  them  showered  with 
admiration,  attention.  invitations — when 
your  life-long  ambition  to  become  a  popu- 
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Get  in  the  musical  'Swim"  yourself.  Watch 
mging,  happy  crowd*  gather  around 
you  as  jrou  play  the  latent  syncopation 
Experience  the  personal  satisfaction  that 
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"where"  and  "what"  you  like  for  your 
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inment  of  other-. 
Don't  be  afraid  to  k 
•  i  mi  ■ 
600,000  people  learned  t" 
play  this  modern  way — and 
found  it  a 

t  that  old-fasl 
that   you   need  tal- 

ent"    Ja  • 

imenti  in  the  ; 

:    want    to 

play,  and  the  hool 

will  do  the  rc-t.     And 


in  mind,  no  matter  which  instrument 
choose,  the  cost  in  each  case  will  average 
the  same — just  a  lew  cents  a  day.  No 
matter  whether  you  are  a  mere  beginner 
or  already  a  good  performer,  you  will  be 
interested  in  learning  alxiut  this  new  and 
wonderful  method. 

Send  for  Our  Free  Book  and 
Demonstration  Lesson 

Our  wonderful  illustrated  Free  I 
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plain all  about  this  remarkable  method. 
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ing new  Automatic  Fiuger  Control. 

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New  York  City. 


U.  S.  SCHOOL  OF  MUSIC. 

5312  Brunnwicle   Rldit.,  N-w  York  City. 

Please1  nend  your  free  book,  "M  i        I  • 

in    Y..ur  Own   Homo,"   with    Introduction 

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plan.    I  urn  Interested  in  1 1 


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A. Mr.  - 


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Picture  Play 


YEARLY   SUBSCRIPTION,  $2.50 


SINGLE  COPIES,  25  CENTS 


Volume  XXXIII  CONTENTS    FOR    DECEMBER,    1930  Number  4 

The  entire  contents  of  this  magazine  are  protected  by  copyright,  and  must  not  be  reprinted  without  the  publishers'  consent. 


Elsi  Que 

Margaret  Reid 

Edwin  and  Elza  Schallert 

Romney  Scott 

Malcolm  H.  Oettinger 

Ann  Sylvester 

Myrtle   Gebhart    . 


What  the  Fans  Think 

Our  famous  open  forum. 

What  a  Girl  Needs   in   Hollywood  •  Samuel  Richard  Mook 

The  thirteen  qualities  that  bring  success,  and  those  who  have  them. 

Just   Who  Are  the   Sophisticates?   .... 

A  brilliant  writer  answers  the  question. 

Not  As  the   Romans   Do 

The  stars  depend  on  their  idiosyncrasies  for  individuality. 

Hollywood  High  Lights     ...... 

Peaks  of  interest  in  news  of  the  studio  colony. 

One   in  a   Million         ....... 

A  home-town  girl  gets  inside  a  studio  to   visit  a   star. 

Another  Three  Cheers! 

Carol  Lombard  inspires  them. 

Waster,   Drifter — Then   Star 

The  amazing  story  of   Richard   Arlen. 

The  Big   Goat-getter   from  Boston  .... 

He  is  Charles   Bickford. 
A  Little  Girl's  Big  Bluff Dorothy  Wooliridge 

How  Raquel  Torres  got  into  the  movies. 
Over    the    Teacups The  Bystander 

Fanny  the  Fan's  chatter. 
Babes   in   Hollywood Inez   Sabastian 

The  fourth  installment  of  a  great  serial. 
Nasal — but  Nice Edward   Nagle 

Jean  Arthur  denies  the  first,  but  is  the  latter. 
Through  the   Mill  with   Miljan         .... 

Unbroken,  undaunted,  a  popular  villain  survives  to  triumph. 
A  Confidential  Guide  to  Current  Releases 

Timely   tips   on  pictures   now   showing. 
The   Screen    in    Review       ...... 

Our  critic   submits  his   report. 
The  Mystery  of   Your   Name 

The  science  of  numbers  solves  it. 
Meet   Those   Baby    Bachelors 

Intimate   revelations   of  the  younger  set   in   Hollywood. 
The  Trouble  with  Being  a  Lady      .... 

Kay  Johnson  is  too  humorous  to  take  it  seriously. 

Too  Many  Don'ts  Mean  Do 

What   Douglas   Fairbanks,   Jr.,   has  had   to   overcome   to  be   himself. 

Dawns   Another    Goofy    Day Carroll   Graham    . 

A  characteristic  contribution  from  the  coauthor  of  "Queer  People." 
Nix   on   the    Actor's   Life H.  A.  Woodmansee 

Some  unusual  reasons  why  it's  not  a  bed  of  roses. 
Is   Acting   Madness? William  H.  McKegg 

Instances  that  prove  senilis   is  akin  to   insanity. 
Information,   Please The   Oracle   . 

Authoritative   answers    to    readers'    questions. 


Madeline   Glass    . 

Norbert  Lusk 
Monica  Andrea  Shenston 
Myrtle   Gebhart    . 
Edwin  Schallert  . 
Samuel  Richard  Mook 


8 
16 
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24 
28 
32 
34 
43 
45 
47 
50 
54 
56 
59 
61 
62 
66 
68 
72 
74 
83 
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88 
102 


Monthly    publ  1   by    Street    &   Smith   Publications,    Inc..    70-89    Seventh  Avenue.   New  York.   X.   Y.     Ormond  G.    Smith,   President;  George  C. 

Smith.  Vice    President    ind  Treasurer;  George   C.    Smith,  Jr..   Vice  President;  Ormond  V.   Gould.   Secretary.     Copyright,    1930.   by  Street  &  Smith  Pub- 
New    York       Copyright,    1930,    by    street    &    Smith    Publications,     Inc.,    Great     liritain.       Entered    as    Second-class    Matter,    March    6. 
1916,   at   the    Po       0  >v   York,    N.    Y..    under  Act  of   Congress  of  March   3.    1879.      Canadian  Subscription.    $^.8C.      Foreign,    $3.22. 

We   do    not   accept    responsibility    for   the    return    of    unsolicited    manuscripts. 
To   facilitate  handling,   the   author   should    inclose   a   self-addressed   envelope   with   the   requisite   postage   attached. 

STREET   &   SMITH   PUBLICATIONS,   INC.,   79   7th  AVE.,   NEW  YORK,  N.  Y. 


Fun  for  everyone  from  4»  lo  OO! 


You  enjoved  Tom  Sawyer  mil  his  RBni  when  you  rc.nl  of  them  a>  a 
kid— you  laugh  even  more  uproariously  when  you  read  about  them 
now.  Bui  when  \ou  actually  meet  ihem  on  the  Paramount  screen 
vou'll  love  them  more  than  ever  In-fore  —  you'll  laugh  M  you've 
never  laughed  yet! 


^MITZI 
<>  It  K  K  \ 

The  lovable,  laugh- 
able imp  of  the  screen 
as    Becky    Thatcher 


0 


Murk    Twain,    whosr 

•li'fif    of    ill*"--     J'Ue.i 

turou»    kids    made    hi» 
fanir  immortal. 


TT 


Hrir  lh«-  mo»t  famou*  b>>\  in 
lli>  mmtU  in  bi>  lir-l  (alkinp 
j.i.  lurr  —  jnil  hi*  nlral  pan  an 
Tom  himaelf 


TOM 
SAWYER 


EE  and  hear  theni  pay  Tom  to  let  them  whitewash  tin-  fence! 
If  nek.  Ton  Jlld  Joe  lo  tile  island  where  they  played 
pirate  while  the  town  thought  they'd  been  drowned  —  and  then 
see  them  attend  their  own  funeral!  Listen  to  Tom  "get  engaged" 
to  Becky  Thatcher.  Flayed  by  America's  most  famous  juvenile 
actors — real  kids,  all  of  them  —  anil  produced  by  the  greatest 
picture  organization  in  the  world,  "Tom  Sawyer"  is  a  picture 
everybody  should  see.  It  will  be  a  treat  for  children  —  and  for 
you  too!   If  it's  a  I'urarrwunt  I'icture  it's  the  test  show  in  town! 


<*&&&:  - 


/  J.hn  CnmmU 


.«"•■ 


(paramount 


TUNE  IN!  Paramoaal 
l-ui.lu  Radio  Hour, 

—        Ill'     M         I     ,     '■   Ml      1  imr. 

over  ili'  <  "liiinl'i  . 
CMtlag  s>  • 


Cpictur&s 

^k^^  rA»»MIICST        (CILDISC   .       N  T 


We  Did  This  Five  Years  Ago 
We  Have  Been  Doing  It  Ever  Since 


t  May- 
nan  she 
as  home 
For  a 
ugh  she 
accepted 
tabrook, 
but  then 
tacrifice, 
intensify 
re  came 
:  gayety 
lays  and 
)dern  as 
E  eternal 
ne  work 
a  highly 
to  your 
enough 
hy  hus- 
to   en- 


(From  the  Boston  Post,  May  20,  1930) 


WHAT   PRICE   BOOKS? 

The  proposed  big  cut  in  book  prices  is 
at  least  going  to  be  a  most  interesting 
experiment.  Four  or  five  large  publish- 
ing" houses  announce  they  will  cut  their 
prices  radically.  Many  others,  equally 
large,  declare  they  will  stand  pat  on  the 
old  prices.  For  a  time  at  least,  there- 
fore, it  is  not  to  be  a  general  price-cut- 
ting war. 

The  cut-price  publishers  will  bring 
out  new  books  at  $1,  as  compared  with 
$2  and  $2.50  for  the  same  type  of  books. 
The  new  price  is  to  apply  only  to  popu- 
lar fiction ;  biographies,  histories,  et 
cetera,  will  remain  unchanged. 

In  making  this  move,  the  cut-price 
publishers  take  the  ground  that  mass 
production  will  reduce  their  costs  and 
that  the  greater  volume  of  sales  will 
bring  a  reasonable  profit. 


And  arc 
done  th 
upon  th 
Irene's  . 
takes  th 
culprit, 
gathers 
you  con 
luctanth 
here  yoi 
bination: 
mystery 

The  t 
a  part  o 
"Party  ' 
all  frotl 

"Part 
Spraguc 
all    the 
It  was 
awakeni 


AND 

WE  CUT  THE  PRICE  OF  PRODUCING  BOOKS,  SO  THAT 
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CHELSEA  HOUSE,  Publishers, 


79  Sevenflh  Avenue,  New  York 


0 


All  of  the  Chelsea  House  Cloth-bound  1  iction  are  Ntw  /tools — the  Stories  never  having 

.ip)K-.ired  in  hook  turin  before;  -ind  the)  are  printed  from  \e\s  plates.    They  are  Not  Reprints. 

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LOVE  STORIES 
The    Lonely    Heart  Doner 

Sweetheart    Of    Destiny  Carroll 

Auctioned    Off  Grey 

The  Dancer  in  the  Shadow  Doner 

The   Husband   Hunter  Poynter 

Blondy*s  Boy  Friend  Homesley 

Love   Is   Like   That    Poynter 

Heartbreak    Harbor Carroll 

Swamp    Flower  Grey 

The  House  Of  Yesterday Gaddis 

Fires  Of  Youth  Poynter 

The  Key  To  Paradise  Gaddis 

Party    Girl  Grey 

The    Gingham    Bride   Poynter 

Impulsive  Youth  Grey 

The   Front-page    Girl  Bechdolt 

Her  Wedding  Ring  Montaigne 

The    Miracle    Marriage  Lambert 

Her    Other    Husband  Lee 

The  Loves  Of  Janet  Edgelow 

Dancing  Judith  Stanton  &  Hosken 

Angel    Face.  Grey 

The  Girl  at  the  Stage  Door  Poynter 

Nice    Girl  Grey 

The  Road  To  Broadway    Hogue  &  Bechdolt 
His    Studio    Wife  Gordon 

The   Bayou  Shrine Sheehan 

Quicksands  Thome 

Marcia  O'Hagan 

The  Love   Bridge  Taylor 

WESTERN  STORIES 
White    Wolf's    Feud  Dunning 

Don   Gringo  MacDonald 

The   Painted   Stallion  Henderson 

Quicksilver    Justice.       Moore 

Kid  Wolf  Of  Texas      Stevens 

Boru:    Wolf  Dog  Gilbert 

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Bucking  With  Bar  C  Gilbert 

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The    Black   Valley    Murders  Mallory 

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Doctor  Bentiron:    Detective Poate 

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Killing  Jazz  Booth 

The   Guilty  Accuser   Livingston 

I  Did  It! Smith 

The  Great  Radio  Mystery Steele 

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The  Tunnel   To   Doom  Hinds 

Blundell's  Last  Guest  Terhune 

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What  the  Fans  Think 


5 


Hear  London  and  Die. 

ALTHOUGH  living  in  far-away  Scotland,  I'm, 
nevertheless,  all  hot  up  over  this  accent  business. 
( her  here  one  is  continually  reading  criticisms 
"I  the  American  accent  in  talking  pictures,  most  of 
these  insular-minded  critics  loudly  proclaiming  the  great 
superiority  of  the  English  voice.  The  way  they  gen- 
eralize, one  would  imagine  America  to  he  full  of  crude, 
nasal,  harsh  voices.  How  do  the  British  critics  get  that 
way  ? 

I  find  a  rhythm  and  tonal  color  in  the  American  voice 
entirely  lacking  in  English  voices,  and  I  believe  that 
there  are  other  British  fans  who  agree  with  me.  Irish, 
Scottish,  and  Welsh  voices  have  also  a  lilt  and  charm 
of  their  own.  The  most  iridescent  voice  I  have  heard 
on  the  talking  screen  is  that  of  Ann  Harding.  With 
its  soft  appeal,  full  of  emotional  color,  who  could  resist 
its  charm !  Ruth  Chatterton,  too,  has  elocutionary  gifts 
of  no  mean  order,  but  is  inclined  to  affect  an  exagger- 
ated English  accent,  which  only  detracts  from  the  sin- 
cerity of  her  performance.  Ruth  should  tone  down  on 
the  broad  a's  and  be  herself!  Kav  Francis,  Constance 
Bennett,  Ramon  Novarro,  and  Richard  Barthelmess  all 
have  attractive  voices,  tinged  with  a  fascinating  Ameri- 
can intonation.  I  have  still  to  hear  Garbo,  but  any- 
thing she  does  is  O.  K.  with  me. 

On  a  recent  visit  to  London,  I  saw  a  number  of  the 
current  theatrical  attractions.  To  be  candid,  if  the 
peculiar  accent  cultivated  by  the  majority  of  players  on 
the  London  stride  is  supposed  to  represent  English  at 
its  best,  then  1  fervently  hope  American  talking  pic- 
tures will  let  well  enough  alone!  I'm  of  the  opinion 
that  British  talkie  critics  should  set  their  own  house 
in  order,  before  throwing  further  brickbats  at  the  Ameri- 
can accent.  (Gosh,  now  1*11  he  accused  of  lack  of 
patriotism !) 

Xow  for  another  grievance!  It  seems  to  me  that 
the  afternoon-tea-and-cocktail  school  of  drama  is  being 
overdone  on  the  screen.  The  characters  in  these  sophis- 
ticated trifles  are  merely  sawdust  dummies,  who  toss  an 
epigram  or  two  between  drinks  and  display  as  much 
animation  a-  a  dead  rabbit!  In  "Charming  Sinners," 
Clive  Brook  and  Ruth  Chatterton  were  so  conscious  of 
saying  clever  things,  with  an  [-know-this-is-cute  air, 
that  they   forgol   to  act. 

This  type  of  opus  should  be  left  to  the  stage:  the 
screen,  with  its  vasl  canvas,  has  no  need  to  waste  time 


on   such    feeble   stuff,   where   the   action  is   confined   to 
four   walls   and    drawing-room   conversation ! 

Donald  Jolly. 
27  Queen  Street,  Forfar,  Scotland. 

Valentino    Sings   for   Her. 

I  have  heard  the  voice  of  Valentino,  and  it  has  not 
come  from  out  the  mysterious  darkness  of  night,  as 
the  spiritualists  would  contend,  but  from  the  round 
disk  of  a  phonograph  record. 

Some  time  ago,  I  read  that  Rudy  had  made  two  sing- 
ing records  during  bis  lifetime,  and  I  immediately  wrote 
to  S.  George  Ullman  about  them.  Air.  Ullman  was 
fortunately  able  to  secure  one  for  me  from  a  man  who 
bought  it  at  the  auction  of  Rudy's  effects,  and  was 
willing  to  sell  it  for  the  price  he  paid  for  it — twenty- 
five  dollars. 

You  will  say,  is  any  record  worth  that  much?  I  will 
leave  it  to  the  Valentino  fans.  Let  them  say  whether 
twenty-five  dollars  is  too  much  to  pay  to  hear,  whenever 
one  wishes,  Rudy  sing,  "Pale  hands  I  loved,  beside  the 
Shalimar,"  and  know  that  never  can  this  recording  be 
duplicated,  because  the  record  was  not  released  for 
sale. 

Although  I  had  met  Rudy  and  talked  with  him,  I 
never  dreamed  he  possessed  this  natural,  glorious  voice. 
It  was  untrained,  to  be  sure,  but  then  so  was  Rudy's 
inspired  acting.  He  had  a  sure,  sweet  gift  of  melody — ■ 
a  true  quality  that  even  great  singers  sometimes  lack. 
There  was  a  wonderful  strength,  too — great  resources 
of  volume  that,  had  they  been  harnessed  and  placed 
properly,  would  have  produced  one  of  the  finest  voices 
of  modern  times. 

Rudy's  singing  English  was  more  accented  than  his 
spoken  English — both  soft,  liquid,  and  tender.  But  so 
naturally  does  he  sing  the  "Kashmiri  Song"  and  so  per- 
fectly does  it  accord  with  his  acting,  that  one  can  easily 
recall  that  scene  in  "The  Sheik"  when  he  strolled  along, 
in  turban  and  burnoose,  singing  the  song  which  the  pic- 
ture made  famous. 

The  Spanish  number  on  the  reverse  side  te  something 
yet  again.  As  he  sings  "El  Relicario,"  Rudy  is  the  bull- 
lighter,  the  tango  dancer,  the  bold  Argentinean  with  hat 
strapped  beneath  chin  and  eyes  flashing.  His  Spanish 
is  crisp  and  dynamic,  and  its  crashing  crescendos  are 
like  those  high  moments  in  his  matchless  acting. 
Continued  on  page   10 


Coach  Ho* artl  Jooe* 

(ut.  •/&».  CaL 

W.    K.   SchoonoMr 

AHmimhis 

E.  N.  Slei-ht 

Purmma 

C«orse    Gibson. 

m 


Tim    Movnihan 

•V«rt  Dww 

Rav   Montgomery 


I  am  thm  ttory  by 

Hark  Canfield 

&jm«  pta?  and  dioLnrur  Ig 
Joseph  Jai-k-ini 


A  Toiicllflowil!   featuring  the 
ALL-AMERICAN   FOOTBALL  TEAM 

What  is  behind  the  success  of  a  great  football 
team?  Men?  Teamwork?  Coaching?  Watch  Joan 
Bennett  vamp  the  whole  All-American  team  into 
playing  for  her  and  you'll  agree  that  sometimes 
—  "Maybe  it's  Love!'"' 

fi'tt/iiriiiif 

JOE  E.  ISIIOW.X      JOAX  It  I  X  M;  i  I      JAMES  II  \l  I. 


Otto   Pommcrenitifc 

Michigan 

Kenneth  Hnycraft 

Minnesota 

Russell  Saunders 

l  nit-,  of  So.  CaL 

Howard    Harpfltev 

Carnegie    Ti<  h. 

Paul  Scull 

inn.  n) 'JVnn, 

William  Banker 

Tulane 

• 

Di reeled  by 

Will  I  »M    Will  HAM 

Oircclur  of  "II  mgt" 


v--- 


ii* . 


WARNER  BROS,  present 


ETU^M 


A    WARNER    BROS.    AND     VITAPHONE     PICTURE 


10 

Continued  from  page  8 
All  this  is  by  way  of  saying  that  I  am 
assured,  were  Rudy  alive,  he  would  be 
talking  and  singing  on  the  screen  and  still 
giving  us  those  brilliant,  thrilling  per- 
formances which  he  gave  to  silent  pic- 
tures. And  he  would  have  gained,  uot 
lost,  by  the  talkie-.  He  would  have  held 
his  supreme  position  in  the  movie  world 
— he  wotdd  have  been,  in  the  new  medium, 
a  greater  Valentino.  Bui  he  could  never 
have  been  more  'beloved — there  were  no 
more  hearts   left  to  conquer. 

Trix   MacKenzie. 
Box  201,  College   Park,   Georgia 

Do  You  Like  to  Get  Mail? 

Does  any  one  have  more  time  on  his 
hands  than  he  knows  what  to  do  with,  or 
are  you  lonely  ?  I  have  a  recipe.  Write  a 
good  letter  to  "What  the  Fans  Think,"  in- 
clude your  name  and  address — don't  for- 
get your  address.  After  your  letter  is  pub- 
lished sit  back  and  wait  a  few  days.  After 
that  you  won't  have  time  to  give  yourself 
a  pleasant  look,  for  you  will  have  so  many 
letters  from  all  over  the  country  asking 
for  your  friendship,  that  you  will  wonder 
why  you  didn't  write  sooner.  Such  splen- 
did people  write !  I  know,  for  I  received 
about  twenty  letters  after  one  of  my  letters 
was  published.  I  am  especially  thankful 
for  a  new  friend  who  lives  in  St.  Paul. 
She  writes  real  letters  ;  my  ! — they  are  won- 
derful, full  of  pep,  personality  and  humor. 
I  certainly  learned  what  goes  on  in  other 
States  through  this  kind  of  correspondence. 
Thanks  doubly  to  Picture  Play  ! 

Jean  Beach. 

Chicago,   Illinois. 

Janet  Gaynor  Is  Perfection. 

This  is  a  plea  for  the  little  star  who 
pulls  on  the  heartstrings  of  the  world, 
who  can  make  us  cry  as  no  other  one  can, 
and  as  readily  make  us  laugh.  Who  is 
she?  Janet  Gaynor.  When  "Seventh 
Heaven"  was  released  she  was  lauded  for 
her  beautiful  performance ;  in  her  succeed- 
ing pictures  her  acting  notably  increased  in 
beauty,  and  now  I  believe  she  is  at  the 
peak  of  the  stellar  firmament.  But  of  late 
we  have  not  heard  much  praise  of  Janet 
Gaynor.  Her  performances  in  "Sunny 
Side  Up"  and  "High  Society  Blues"  were 
all  that  could  be  desired.  When  the  latter 
showed  at  our  theater  it  was  crowded. 
Proof  positive  how  Janet  is  regarded  by 
the  fans. 

Why  don't  we  see  more  of  the  divine 
Janet  ?  One  seldom  sees  her  pictures  in 
magazines  and  I  hear  she  is  in  an  argu- 
ment with  Fox.  Don't  they  realize  what 
richness  they  possess  in  the  depth,  celestial 
beauty  and  adorableness  that  is  Janet? 
Whenever  I  see  one  of  her  pictures  I  leave 
the  theater  with  a  better  and  sweeter  out- 
look on  life,  and  I  am  not  the  only  one. 
No  one  can  ever  take  her  place. 

Marie  Leader. 

Petaluma,  California. 

Now   Here's   a   Fan! 

Fver  since  I  went  to  a  dime  theater  to 
kill  time,  and  murdered  it  ruthlessly  by 
seeing  "Twinkletoes,"  and  had  a  good  pic- 
ture destroyed  by  a  piano  that  played  "I 
Wonder  What's  Become  of  Sally?"  I  have 
been  thankful  for  talking  pictures  and  big 
theaters. 

In  the  last  ten  years  I  have  seen  thou- 
sands of  motion  pictures.  I  have  seen 
good  ones.  All  the  good  ones  you  can 
think  of  offhand.  I  have  seen  indifferent 
ones,  and  bad  ones  no  end.  I  once  at- 
tended nineteen  shows  in  twenty-one  days. 
I  saw  the  Rood  ones  for  their  good  influ- 
ence, and  forgot  the  bad  ones  as  soon  as  I 
had  seen  them. 


What  the  Fans  Think 

I  can  remember  such  pictures  as  "The 
Goose  Woman,"  "The  Devil's  Pass-key," 
and  "Mare  Nostrum."  I  have  worked  for 
three  motion-picture  companies.  I  have 
belonged  to  the  anti-blue  law  league.  I 
have  helped  to  fight  censorship.  I  have 
spent  hours  in  a  projection  room  watching 
a  diminutive  screen.  I  have  handled  miles 
of  film.  I  know  things  about  the  technical 
side  of  films  that  would  sicken  most  peo- 
ple; but  I  am  as  ardent  a  fan  as  I  ever 
was.  I  love  pictures.  I  love  the  people 
that  play  in  them.  I  collect  stills,  having 
some  five  hundred,  many  of  them  auto- 
graphed. I  never  miss  an  issue  of  Picture 
Pi.ay.  I  have  a  stack  of  Lui  Trugo's  il- 
lustrations. I  dote  on  them,  especially  the 
one  of  the  typewriter  with  cars.  And  most 
of  all,  my  optimism  is  undimmed.  I  know 
motion  pictures  are  a  great  industry  and  I 
have  faith  in  it.  Even  more  now  that  the 
infant  movie,  learning  to  speak  without 
saying  "bloop !"  is  toddling  into  new  fields 
and  educating  me  as  I  never  dreamed  pos- 
sible. Mrs.  John  M.  Finn. 

1244  Hiatt  Street,   Indianapolis,  Indiana. 

A  Pearl  of  Womanhood. 

There  is  a  woman  on  the  screen  to-day 
who,  in  my  opinion,  possesses  the  noblest 
character  of  any  one  I  have  ever  seen. 
She  radiates  sweetness  and  goodness.  Her 
name?     Belle   Bennett. 

The  first  time  I  ever  saw  Miss  Bennett 
was  in  "Stella  Dallas."  Since  then  I  have 
been  a  willing  captive  to  her  charms.  It 
seems  a  pity  she  isn't  given  an  opportunity 
to  appear  more  often. 

Miss  Bennett  is  a  beautiful  woman  with 
a  noble  soul.  In  her  glorious  womanhood 
she  makes  some  of  the  younger  players 
seem  shallow  and  colorless.  I  saw  her 
wonderful  performances  in  "Their  Own 
Desire"  and  in  "Courage."  She  lives  her 
roles. 

She  can  never  appear  too  often  to  sat- 
isfy me,  as  she  is  not  only  lovely  in  ap- 
pearance and  a  wonderful  actress,  but  she 
has  nobility  of  soul  and  an  understanding 
heart,  two  rare  possessions  in  this  day  and 
age.     More  power  to  Miss  Bennett ! 

B.  G. 

Evansville,  Indiana. 

Beauty  That   Hurts. 

The  great  Garbo  moves  on,  untouched  by 
deprecation,  jealousy,  and  criticism  which 
have  been  directed  at  her  from  many  quar- 
ters since  she  glided  into  the  limelight. 
More  surely  and  regally  she  edges  away 
from  the  mob  of  puppets  who  call  them- 
selves actors,  picking  her  way  with  quiet 
artistry,  ultimately  to  reach  the  heights  of 
fame.  And  those  who  have  laughed  and 
jeered  and  scorned  will  turn  and  smile  and 
bow  before  her.     How  very,  very  funny ! 

Then  there  is  the  strange  case  of  "Anna 
Christie."  The  finest  dramatic  effort  of 
the  past  season,  its  reception  was  amazingly 
different  from  that  accorded  any  film  of  its 
class.  But  a  reception  with  all  the  attri- 
butes of  a  Garbo  triumph.  Intensely  artis- 
tic, it  rang  not  one,  but  half  a  dozen  bells 
at  the  box  office.  Those  who  had  smiled  at 
the  name  of  Garbo  went,  and  returned  to 
add  their  superlatives  to  the  already  moun- 
tain-high heap  of  lyric  adjectives  that  had 
accumulated  through  the  past  four  years. 
Those  who  had  worshiped  at  the  shrine  of 
a  mysterious  goddess  found  but  a  woman 
of  clay,  and  they  left  their  theater  seats  to 
weep.  And  the  whole  fan  world  dropped 
its  jaw  and  caught  its  breath  when  Greta 
muttered  the  now-famous  line  about  the 
glass  of  whisky. 

Greta's  voice  was  disappointing,  it  was 
disillusioning,  it  was  nasal,  it  was  flat, 
gruff,  coarse,  harsh!     Garbo  illusions  were 


gone  forever !  These  were  some  of  the 
howls  which  rose  from  the  fans.  But 
through  it  all  there  were  those  who  saw 
in  the  strange  huskiness  of  that  voice  dra- 
matic possibilities  such  as  we  have  in  no 
other  voice  on  the  screen.  That  superb 
reading  of  the  role  of  Anna  told  them  that 
Greta  was  not  only  the  greatest  actress 
of  the  cinema,  but  an  actress  whose  real 
career  had  only  just  begun.  Even  the 
disillusioned  muttered,  "Yes,  Anna  Christie 
is  a  great  performance,  but  what  of  the 
future  ?" 

"Romance"  is  the  answer.  Because  in 
"Romance"  we  have  the  beauty  and  the 
glamour  of  the  Greta  of  old,  with  the  su- 
preme artistry  of  the  vocal  Garbo.  You 
fans  who  have  seen  your  dreams  crashing 
down,  here  is  an  answer  to  your  prayers. 
"Romance"  will  restore  your  illusions,  for 
Greta  the  mysterious  has  returned,  and  the 
new  Garbo,  poised  and  mature,  lingers  on. 
The  earthly  woman  who  was  Anna  has 
passed  into  the  history  of  the  talking  screen, 
but  her  soul  has  moved  into  a  more  beau- 
tifully garbed  body,  to  give  us  Rita  Caval- 
lini,  the   Italian  prima  donna. 

The  voice  of  the  woman  is  sweeter  now, 
and  it  has  none  of  the  self-consciousness 
that  permeated  parts  of  "Anna  Christie." 
But  it  still  thrills  one  with  its  velvety 
tones  and  subtle  changes  of  expression. 
Somehow  the  voice  of  Garbo  will  always 
shock  me,  because  it  is  such  an  odd  and 
amazing  voice.  It  seems  as  though  there 
should  be  silver  in  it,  when  instead  there 
is  melting  gold.  And  the  nuances,  the 
little  niceties,  they  will  surprise  the  sin- 
cerest  fans.  There  is  a  delightful  episode 
at  the  beginning  of  the  play,  where  Greta 
charms  the  young  minister.  It  is  utterly 
fascinating.  She  does  it  laughingly,  whim- 
sically. Can  you  imagine  the  great  Garbo 
being  whimsical?  Well,  neither  could  I, 
but  wait  until  you  see  "Romance."  And 
it  came  to  me  as  I  saw  that  part  of  the 
film  again  and  again  that  Greta  was  equal 
to  Chatterton,  even  in  the  lightest  parts, 
and  I  knew  then  that  Greta  was  not  only 
our  great  tragedienne,  but  potentially  a 
superb  comedienne.  It  won't  sound  so  in- 
congruous when  you  have  seen  those  first 
haunting  minutes  of  "Romance." 

The  scented  charm  of  "Romance"  is  not 
comparable  with  the  rugged  realism  of  Eu- 
gene O'Neill,  but  Greta  takes  the  story- 
book creature  that  is  Rita  Cavallini  and 
makes  a  woman  of  her,  a  woman  who  glows 
with  warmth  and  life  and  is  a  strange  mix- 
ture of  tenderness  and  tragedy.  Never  has 
a  role  been  so>  consistently  conceived  nor 
so  deeply  understood  as  this  of  Cavallini, 
and  through  it  one  can  see  into  the  heart 
of  the  real  Garbo.  A  woman  of  great  sym- 
pathy and  richly  sensitive,  capable  of  ex- 
pressing that  ineffable  something  we  call 
soul  in  her  own  wray — in  the  shadows  and 
lights  which  drift  across  her  face  as  the 
character  matures.  A  creature  a  bit  lonely 
and  weary,  hurt  by  contact  with  the  world, 
but  within  her  heart  a  deep  understanding 
of  woman.  It's  hcartbreakingly  beautiful. 
And  yet  it  is  the  beauty  of  Greta  Garbo 
that  makes  of  "Romance"  a  thing  of  ex- 
quisite loveliness,  aglow  with  the  old  Garbo 
glamour,  but  tempered  and  matured.  It 
defies  the  efforts  of  the  fan  to  describe  it. 
Perhaps  a  poet  might  do  it  justice.  Per- 
haps no  one  shall  ever  put  it  into  sight  or 
sound  other  than  the  magic  sight  of  the 
screen  and  the  mysterious  sound  of  the 
talking  picture.  It  is  the  beauty  of  all 
women  blended  into  a  perfect  face,  and  the 
registering  thereon  of  all  the  emotions 
woman  has  known  since  the  beginning.  It 
is  beauty  that  hurts,  and  I  can  think  of  no 
greater  tribute  than- that. 

Richard  E.  Passmore. 
Media,  Pennsylvania. 


What  the  Fans  Think 


Alas.    Where   Is    He? 
Among  .ill  the  hundreds  *  i  letters  from 
your  many  readers,  1  have  never  yet  come 
across  i  ne  written  in  praise,  or  othei 
of    James    Murray,  the    most    bril- 

liant actor  on  the  screen  I  Can  it 

U:  that   any   fan   who   saw    "The   Crowd" 
or  "The  Shakedown"  failed  to 

that   lure   was   some  one   quite  out   of   the 
>ung  heroes,  some  one  really 
an  intelligent  artist,  with  wonderful  p 

i  ami  a  very  delightful 
personality  to  boot?     His  speaking  voice 

is    also    charming    and    absolutely    natural. 
Cerely    hope    we    shall    see   and   hear    a 

lot  more  ^i  this  interesting  young  man's 
work  in  the  very  near  future. 

t  i:  M'VS    Parrott. 

Goleen,  King  Edward's  (it 
Teddington,  England 

Hurray  for  Kay! 
I   agreed   with    lea    McAllister's   letter 
in    a    recent    PlCTUU    Play,    hut    for    one 
name,  and  that  is  Kay  Johnson's.     She  is 
the  only  one  who  can  compete  with   Ruth 
"Chatterton— and  that  is  saying  a  good  deal. 
Dynamite"  and  she  was  won- 
derful,    .she   is  a   "full-fledged  celebrity" 
and    I    would   go   anywhere   to   see   her.      I 
ler  it  an  insult  to  class  her  with   Mae 
Clarke.  Jeanette  MacDonald.  and  the  like. 
Barbara  Traill. 
H-  .en;.  Wellington, 

New  Zealand. 

"Picture   of   Perfection." 

My  favorite  star  is  Colleen  Moore.  I 
think  she  is  the  sweetest  and  cleverest 
in  the  world.  I  shall  never  forget 
some  ot  her  silent  pictures.  I  think  "Lilac 
lime  was  the  best  picture  I  ever  saw. 
Her  voice  is  great  and  oh,  babv,  how  she 
can  smg!  "Smiling  Irish  Eves''  made  a 
great  hit  in  our  town.  I  hope  she  does 
not  leave  the  screen  forever,  because  she 
is  one  star  who  can  make  vou  smile  and 
be  happy.  Colleen  won  the  popularity 
contest  that  was  held  in  our  school  not 
long  ago,  and  won  by  a  great  majoritv. 

I  dont  hke  any  of  the  stage  stars,'  but 
please  bring  back  the  dear  silent  ones. 

I  hope  Colleen  reads  this  so  she  will 
not  leave  the  screen.  This  letter  was  read 
by  over  a  hundred  girls  and  thev  all  wish 
-Miss  Moore  the  best  of  luck. 

Betty  Jane  and  Tiie  Girls. 

Spokane,   Washington. 

Audiences  too  Particular? 
What's  all  this  racket  about  William 
Haines  becoming  a  terrible  bore?  Just 
because  of  one  picture  that,  though  I  ad- 
mire him  so  much,  I'll  admit  was  wasted 
energy,  every-  one  is  turning  against  him. 
Billy  is  all  right,  and  he  has  a  greater 
record  of  turning  out  dandy  pictures  than 
most   st  1 1 

What's  wrong  with  Billv?  Nothing  1 
Uhats  wrong  with  the  public?  Plenty! 
They  are  much  too  particular.  And  Billy 
works  hard  to  please  them.  When  he 
thought  that  his  public  was  getting  tired  of 
-e-cracking  roles,  didn't  he  turn  out 
dandy  dramatic  picture,?  "Alia,  Lmmv 
Valentine,      "Exo  ige."    ami     "A 

Man  i    Man"    were    only    a     few    of    the 
pictures  that  he  showed  what  a  mar-. 
actor   he    could    be,    if    given    the    chance. 
And  what  did  the  public  do?     Thev  didn't 
even  notice  his  great  acting.     They'  wanted 
him    back    as    the    wi-c-craekintr.    smart- 
Aleck  type.     And  Poll. 
acting    "crazy."   but    <  nly    in    "Sperdv 
fast  to  phase  his  public 
He  can  act  and  bas  proved  it  many  times. 
\Vhy    turn    against    him    because    of    one 
picture'  •    least 


poor   picture  in   his  career,   and  mam 
even  more  than  that.     And  n  you'll  look 
Billy*!    1 1 - 1    of    pictures,   you'll    find 
more  worthj  ones  than  unworthy  on< 

Aw  Stern. 
537  East  52nd  S1 
Brooklyn,  New  York. 

To  Mary  in  Hollywood. 
Ow  reading  a  recent   Pn  run  Play,  I 

was  annoyed  to  read  no  less  than  ' 
unkind  and  disparaging  letters  in  the 
it  the  Fans  Think"  about  that  dear 
little  actress,  Mary  Brian  Often  the  Ut- 
ters in  this  department  irritate  me  <  \- 
lingly,  though  of  course  some  are  very 
interesting  indeed,  hut  now  mat  (diss 
Brian  is  being  attacked.  I  really  feel  I 
must   take   up   the   cudgels. 

Here  in  Melbourne  this  little  lady  Is 
of  the  greatest  favorites  on  the 
screen,  sharing  honors  with  Ruth  l  liat- 
.  Norma  Shearer,  Nancy  Carroll, 
Clara  Bow,  and  Janet  Gaynor.  Person- 
ally. I  admire  ami  love  her  not  only  as  a 
very    talented    young    actress    who    in    each 

succeeding  production  gives  a  better  and 
more  artistic  performance,  hut  as  the  sin- 
cere, lovable,  and  unselfish  girl  that  I 
know  her  to  he.  I  should  say  she  is  about 
the  most  retiring  actress  on  the  screen. 
She  never  claims  the  limelight  in  any  way. 
hut  just  goes  quietly  on,  living  a 
life,  giving  the  very  best  that  is  in  her 
to  her  roles,  and  making  all  who  know 
her  love  her.  To  me,  Mary  Brian  is  the 
very  essence  of  sincerity  and  refinement, 
and  she  deserves  every  particle  of 
luck  that  comes  her  way.  I  have  watched 
her  gradual  and  unspectacular  rise  from 
the  small  parts  which  used  to  come  her 
way,  and  which  she  always  succeeded  in 
making  interesting,  to  the  rich  and  color- 
ful roles  which,  thank  goodness,  seem  now 
to  he  following  closely  on  each  other.  For 
a  young  girl,  without  any  stage  training, 
to  rise  to  the  emotional  and  dramatic 
heights  that  were  hers  in  "The  Man  I 
Love,"  "River  of  Romance,"  and  "The 
Virginian,"  is,  to  my  mind,  complete  evi- 
dence of  a  natural  dramatic  ability.  And 
what  a  lovely  voice  Mary  has;  so  rich  and 
deep  in  emotional  moments.  There  is  an 
aura  of  refinement  and  purity  around  Miss 
Brian  sadly  lacking  in  so  many  of  the 
-tars,  however  beautiful  and  talented  they 
may  be.  She  is  a  great  favorite  with  our 
critics  here,  and  I  can  assure  you  they 
arc  critical.  As  for  me — I  love  her  and 
am  thankful  to  her  for  the  great  pleasure 
she  has  given  me,  and  for  her  sweetness 
and  goodi 

Regarding  her  figure,  I  consider  it  quite 
one  of  the  prettiest  I  have  seen;  she  is 
slight  without  being  thin  and  bony.  But 
as  for  her  displaying  it  in  tight-fitting 
bathing  suits,  and  such  like,  the  day  she 
does  that,  one  of  my  most  cherished 
dreams  will   go  up  in   smoke. 

L.  F.  W. 

St.   Kilda,   Victoria,  Australia. 

From  Wisdom's  Fount. 
Leaving  my  philosophy  and  history  for 
a   while,   I  chanced   to  pick  up  a  copy   of 
Tune  Pktipe  Play. 

1     E     Andre's    letter    on    "those   college 
films"   moved   me   to   write   my   idea        1 
attended   the   University   of    Minnesota,   a 
school,   and  am  now   going  to   Har- 
vard. 

All  the  college  pictures  I  1  ecu 

are  the  bunk.    One  might  think  collegians 
were  a   lot  of   booze  hounds    and    women 
1    '■uppove   it    would    spoil   the   ef- 
fect  of  the   picture   if  one   of   the   players 
■d    even    a    sign    of    Studying.      Col- 
'  iy    isn't    run    in    the    Alice 
White-Joan     Crawford       I    h         We     have 
ood    times,   but    we   <tudy    plenty    for 


what    we   get.      1   don't   think   that    pro 

live  students  should  be  encouraged  t 

Alice  White  do  tlu-  Black  Bottom  on  a 
table,  o:  J. .an  i  rawford  being  kissed  in 
a  rumble  --eat  und<  i  .i  summer  moon  and 
think  it  is  college  hie     i  ollege  is  synony 

nioiis   with  work,  and   1  don'l   mean   in 

Let's  have  a  true  representation  ot  col 

lege  life,   not  ju-t  i    wild   pai 

liquor,  women,  and  football  games. 
1  l.ii \  .i d  University,  I     I 

Carabi  idge,   Massachu 

"Alice  Is  a  Peach!" 
Turn     about     is     fair     plaV — and     I'vi 

changed  my  mind  about  Alice  White. 
Once  I  disliked  Alice  a  lot.  and  I  wrote  a 
letter  to  "What   tin    Fans  Think"  about  it; 

hut  now  1  have  a  different  opinion 

I've  noticed  a  change  in  Alice  i"r  some 

time  -hut  wouldn't  acknowledge  it.  How- 
ever. I  do  admit  it  now!  Friends  at  the 
studio  working  with  Alice  saj  that  I  am 
right,    and    that    Alice    has    changed— for 

better  I       She's    SO    much    more    sincere, 
-o    thou -'it  fill    of    others,    and    a    real    per 

son.  She  is  much  more  interesting,  and 
the  change  delights  her  friends. 

I    wrote   Alice  jtist   how    I    felt,  knowing 
that   she   had    read    my    letter.      She    wrote 
me    the    nicest     letter    and    told     me    that 
she    appreciated    ever    50    much    more    my 
saying   that   I    liked   her   now,   when    1    d 
because     I     said     I     didn't     when     1     didn't. 
Also,   that   she'd   rather  have   won   nn 
than   have  had  me  like  her  at   first.      Like 
myself,    she   was    willing   to   admit    hi- 
lt pleased  her  to  know  that   I   thought 
she   had   improved.      The    letter   was   much 
longer    and    was    the    beginning    of    a    real 
friendship.     Alice  is  a  peach! 

LucruE  Carlson, 

206  East   Main    Street. 
Detroit   Lakes.  Minnesota. 

Sad    Future    for    Oettinger    Heirs. 

I  have  read  Malcolm  H.  Hettinger's 
interview  with  Lily  Damita  in  All 
Picturk  Play.  Mr.  Oettinger  says:  "Da- 
mita succeeds  in  being  what  Yelez  at- 
tempts to  be — one  of  those  madcap 
minxes."  Mr.  Oettinger  strikes  me  as 
being  of  the  frightfully  narrow-minded 
bourgeoisie,  so  to  speak,  and  I'd  like  to 
direct   a    few   strong,   clear   word-    to   him. 

I  have  here,  Mr.  Oettinger.  your  inter- 
view with  Lupe  Yelez  some  time 
In  it  you  elevated  Lupe  sky-high— all 
sugar-and-cream,  so  to  speak.  You  praised 
her  naive  antics  and  her  madcap  char- 
acteristics. Vou  were  Lupe's  lust  press 
agent.  Now  you  contradict  yourself  and 
say   Miss  Yelez  attempts  to  be   so-and-so. 

Lupe  Velez  is  the  same  Lupe  right  this 
minute  that  she  was  five  years  ago  in 
Mexico.  True,  she  is  naive,  but  she  at- 
tempts nothing  else.  She  succeeds  in  be- 
ing herself  without  overacting.  She  is  a 
great  little  actress,  and  she  is  not  in  the 
affected— something  that  cannot  be 
said  of  your    favorite.  Damita. 

Not  long  ago  I  was  an  unwilling  spec- 
tator   of    "Sons    o'    Guns"    on    the    si 
Lily    Damita    struck    me    as    being    fright- 
fully   affected,    and    if   you   can    name 
of  her   performances   in   pictures   that   can 
mpared  with  Lupe  velez's  work,  I'd 

advise  you  to  do  SO  Lupe  Yelez  could 
[day   Damita's   role   in    "J  '    '  ,nns"  ten 

times  as  well  as  Damita  did. 

Another   thing.      Who   is   in    gr 
mand    by    the    public — Velez    or    Damita? 
of  course     That'-  tin  answer  every 
time. 

I  don't  want  to  wish  you  any  bad  luck, 
but  I  hope  all  your  sons  end  up  making 
hooked   r  '  '         rvs. 

'»4.   VVaunakcc    Wisconsin. 


12 


Wkat  the  Fans  Tnink 


Crocella's    Spiritual    Kin. 

If  "Eternal  Idolizer"  likes  to  hear  about 
Barry  Norton,  I  certainly  enjoy  talking 
about  him.  However,  as  Ann,  his  secre- 
tary and  manager,  says,  "I  think  you 
said  all  there  was  to  say  in  your  last  let- 
ter." All  but  one  thing,  1  guess,  and  I 
can't    keep    that   a    secret. 

By  the  time  this  is  published,  Ann,  who 
is  really  Mrs.  Salvador  Romero,  will 
>me  a  mother.  Harry  insisted 
that  he  was  to  be  the  godfather.  So  im- 
agine my  delight  upon  learning  that  I 
could  be  godmother  if  I  wanted!  ' 
parents  are  -said  to  be  spiritually  related. 
So,  needle"  to  say,  I'm  taking'  advantage 
til"  this  opportunity  to  become  a  kind  of 
relative  to  Harry  ! 

Barry,  by  the  way,  is  doing  splendidly 
in  Spanish  versions,  and  now.  very  soon, 
we  shall  hear  him  in  English.  He  cer- 
tainly is  waiting  patiently  for  this  oppor- 
tunity. Further  information  for  Barry 
-his  favorite  beverage  is  milk  and 
his  pet  delicacy  apple  pic.  He  thinks  one 
of  the  most  attractive  qualities  in  a  per- 
son is  cleanliness  and  has  been  known  to 
t;:ke  six  baths  a  day  in  warm  weather ! 

The  person  who  wrote  condemning 
Buddy  Rogers  because  a  letter  to  him  was 
answered  by  a  card  quoting  prices  of  pic- 
tures, does  the  young  man  an  injustice. 
Paramount  handles  the  fan  mail  of  their 
players. 

Crocella  Mullen. 
Hollywood,   California. 

Another  Artistic  Death  and 

Will  I  commit  any  special  kind  of  trea- 
son if  I  suggest  that  Paramount  might 
cast  Barry  Norton  as  the  hero  in  revivals 
of  some  of  the  Wallace  Reid  pictures? 

Confess  now!  Wouldn't  you  like  to 
see  "The  Ghost  Breaker,"  "The  World's 
Champion."  or  "Across  the  Continent" 
again?  But.  please,  Mr.  Zukor,  Mr. 
Lasky,  and  all  ye  casting  directors,  don't 
cast  Barry  Norton  as  "He  Who  Gets 
Shot."  Just  one  more  artistic  death  on 
the  part  of  Mr.  Norton  and  I'll  phone  the 
florist  for  a  wreath,  instead  of  writing  a 
fan  letter!  Judith  BarriE. 

60   Harper    Street. 

Rochester,    New   York. 

The  One  Actress  Discovered. 

Why  is  it  that  most  of  the  fans  are 
exclaiming  about  Greta  Garbo  being  such 
a  wonderful  actress?  What  has  she  done 
in  pictures  that  any  other  actress  couldn't 
do?  Except  flashing  a  striking  person- 
ality, perhaps  different  from  other  stars. 
No,  Garbo  is  not  an  actress  by  any  means. 
She  hasn't  the  facial  contrasts  or  the 
poise  of  a  real  actress.  No  doubt  she  is 
clever  and  exotic,  and  manages  to  put 
her  pictures  over,  which  few  of  the  great 
stars  do.  But  to  compare  her  with  such 
stars  as  Pola  Negri  and  Gloria  Swanson 
is  ridiculous.  To  acclaim  her  as  a  great 
actress  i-  absurd.  In  my  estimation  there 
is  only  one  real  actress  in  the  world  to- 
day.    That   is  Pola  Negri. 

Roy  B.   McAloney. 

Y.    M.    C.    A..    Nashua, 
New   Hampshire. 

Those    Vallee    Dithers. 

What  in  Heaven's  name  lias  induced 
American  fans  to  get  into  such  a  state 
of  excitement  and  dither  over  Rudy  Val- 
lee ! 

I  have  just  seen  "The  Vagabond  Lover," 

and  I  do  most  sincerely  hone  that  T  never 

again   have   to   witness    such    an    appalling 

exhibition   of  incompetence  on   the  part  of 

■  irred   player. 

Mr.  Vallee  has  '-cither  looks,  acting 
ability,    nor    personality,    and    his    singing 


suffered  very  badly  in  comparison  with 
that  of  Stanley  Smith,  whose  "Sweetie" 
appeared  on  the  same  program.  Really, 
I  should  have  thought  that  when  the 
much-adored  Rudy  got  his  first  eyeful  of 
the  play-backs  of  this  film  he  would  have 
returned  quietly  to  New  York  and  stuck 
to  the  radio!  However,  no  doubt  he 
thought  he  was  grand.  He  looked  as  if 
he  did. 

Although  I  am  English,  I  am  a  stanch 
admirer  of  American  films  and  players, 
and  consider  the  artistry  of  Ruth  Chat- 
terton,  Gary  Cooper,  and  Janet  Gaynor, 
to  name  only  a  few,  to  be  of  the  highest 
order — but,  please,  no  more  Rudv  Val- 
ue's! N.  M.  H. 

London,   England. 

The  Fates  Place  a  Symbol. 

I  do  not  know  how  I  can  ever  express 
my  appreciation  of  Madeline  Class,  who 
wrote  "What  Is  His  Mystic  Power?"  in 
August  Picture  Plav.  I  have,  of  course, 
read  many,  many  articles  about  Ramon 
Novarro,  but  never  one  which  touched  on 
my  own  feelings  so  exquisitely.  Until  I 
read  Miss  Class's  article,  I  thought  I  was 
the  only  girl  in  the  world  who  idolized 
Ramon  in  the  way  she  described;  and  I 
cannot  say  how  happy  I  am  to  know  that 
there  are  so  many  others  just  like  me. 

Since  there  is  no  other  actor  who  re- 
ceived the  adulation  accorded  Novarro  I 
have  concluded  that  it  was  a  strange  and 
wonderful  purpose  of  fate  which  placed 
him  on  the  pinnacle  of  fame,  that  he 
might  be  the  symbol  of  gayety  and  ro- 
mance to  girls  all  over  the  world. 

Eleanor  C.  Wehle. 

94  Beach    Avenue, 

Larchmont,   New  York. 

Give  Stage  Players  a  Hand. 

It  seems  to  me  that  most  of  the  fans 
are  against  the  stage  recruits.  Why,  I 
cannot  tell.  There  seems  little  or  no  rea- 
son for  this  prejudice.  Certainly  Broad- 
way has  given  us  some  of  the  finest  play- 
ers in  Hollywood. 

The  two  male  idols,  Lawrence  Tibbett 
and  Maurice  Chevalier,  came  directly  from 
the  stage.  Both  understand  the  necessity 
of  making  a  warm  contact  with  the  audi- 
ence; hence  the  charm  and  personality  of 
each,  particularly  Chevalier,  who.  not  hav- 
ing the  golden  voice  of  Tibbett,  must 
make  the  most  of  his  brilliant  smile. 

And  what  of  Ruth  Chatterton,  Jeanette 
MacDonald.  Lillian  Roth,  and  a  score  of 
others?  Chatterton  gave  the  screen  such 
acting  as  it  never  before  had  seen.  Mac- 
Donald,  on  the  other  hand,  gave  us  the 
perfect  singing  voice,  plus  ease  and  ability 
to  act,  plus  beauty  and  style.  It  is  true 
that  she  has  not  received  much  praise,  but 
she    deserves   plenty. 

I  agree  that  the  screen  has  held  its  own. 
But  why  not  give  the  stage  stars  a  little 
praise?     Thev  deserve   it! 

Pi  \RT.   A.    Katzman. 

601   West  180th   Street. 
New  York,   New  York. 

Her    Rosary    of    Favorites. 

What  radical  changes  the  talkies  have 
brought  about,  and.  much  as  I  like  them, 
there  are  some  things  that  make  me  won- 
der. Buddy  Rogers's  voice— or  lack  _  of 
voice — for  one  thing.  He's  good-looking 
and  has  a  fair  amount  of  acting  ability, 
with  musical  talent  added;  but  he  should 
never  sing,  because  his  voice  lacks  depth, 
training,   and   interest. 

What  is  to  be  done  about  all  these 
stage  stars  being  forced  upon  us?  Cath- 
erine Dale  Owen— why,  she  hasn't  any 
acting  ability  at  all  and  isn't  even  beauti- 
ful.     Color'  photography    was    far    from 


flattering  to  her  in  "The  Rogue  Song." 
Marilyn  Miller  may  be  all  right  on  the 
stage,  and  I  know  she  is,  for  I  saw  her  in 
"Sally,"  but  she  hasn't  anything  to  give 
to  the  screen,  except  being  pretty,  and 
there  are  so  many  pretty  stars  already, 
who  have  other  talents  as  well.  I  haven't 
a  thing  against  them,  except  they  don't 
belong  in  the  movies  and  should  go  back 
to  the  stage,  where  they  do  belong.  That 
may  be  said  for  Jeanette  MacDonald,  Ber- 
nice  Claire,  Alexander  Gray,  and  Mary 
Nolan.  I  admire  Maurice  Chevalier,  Ann 
Harding,  and  Kay  Johnson  immensely,  but 
they  have  real  talent. 

I've  two  favorites — supreme  favorites — 
Greta  Garbo  and  Ruth  Chatterton.  There 
aren't  any  others  to  be  compared  with 
them — Greta,  for  her  great  fascination 
and  mystery ;  Ruth,  for  her  wonderful 
personality   and   perfect  voice. 

Now  just  a  note  that  may  interest  col- 
lectors. Through  a  friend's  influence, 
Dolores  Costello  sent  me  a  gorgeous  an- 
nouncement of  baby  Dolores — a  portrait 
of  Dolores,  the  baby,  and  John  Barry- 
more,  and  printed  below :  "Miss  Dolores- 
Barrymore  thanks  you  very  much  for 
your  good  wishes."     It's  beautiful! 

Elinor  Garrisox  Henderson. 

521   Puget  Street, 

Olympia,    Washington. 

Heard  by  a  Musical  Ear. 
I  should  like  to  express  my  opinion  of 
a  few  movie  matters.  First,  why  all  the 
excitement  about  Greta  Garbo?  She  is  a 
good  actress,  but  there  are  a  number  of 
others  just  as  fine  and  several  better. 
To  me,  Marie  Dressier  stole  "Anna  Chris- 
tie" right  from  under  her  nose.  Miss 
Dressler's  acting  is  so  human  and  appeal- 
ing.    More  power  to  her ! 

Secondly,  why  all  the  fuss  about  Bebe 
Daniels's  singing  voice?  It  is  just  a  fair 
voice,  and  her  work  in  "Rio  Rita"  showed 
sadly  her  lack  of  real  musical  ability  or 
instinct.  John  Boles  left  her  so  far  be- 
hind that  Bebe's  work  wasn't  to  be  con- 
sidered— vocally.  And  as  for  acting,  that 
was  only  average,  too. 

There  is  a  star  no  longer  on  the  screen 
with  a  much  finer  voice  and,  what  is  even 
more  important,  a  real  knowledge  of 
music,  and  that  is  Anita  Stewart.  Per- 
haps some  fans  heard  her  on  her  recent 
vaudeville  tour,  and  if  they  know  any- 
thing about  voice,  they  will  know  what  I 
say  is  true.    ■ 

Thirdly,  the  excitement  about  Tibbett 
or  Chevalier  occupying  the  throne.  Why, 
when  Novarro  came  through  so  splendidly 
in   "Devil-May-Care": 

And  why  try  to  make  singers  of  Janet 
Gaynor  and  Charles  Farrell,  when  nei- 
ther can  sing?  And  that  goes  for  Buddy 
Rogers,  too!  Of  the  stars,  I  think  Gloria 
Swanson  and  Anita  Stewart  have  by  far 
the  finest  singing  voices,  and,  of  course, 
Novarro  leads  the  men.  One  of  the  old- 
timers,  Lloyd  Hughes,  is  possessed  of  a 
fine  singing  voice,  and  personally,  I  pre- 
fer it  to  that  of  John  Boles — as  fine  as 
his  is.  Since  living  in  California  I  have 
been  to  a  number  of  the  Hollywood  pre- 
mieres and  want  to  say  that  most  of  the 
stars  appear  every  bit  as  nice  as  they  do 
on  the  screen.  My  biggest  disappoint- 
ments were  Richard  Dix  and  Louise  Fa- 
zenda.  Gloria  Swanson  is  even  hand- 
somer off  than  on  the  .screen,  and  Norma 
Shearer  is  very  distinguished-looking._  If 
any  of  the  fans  care  to  write  on  subjects 
mentioned  in  this  letter,  I  shall  be  glad 
to  hear  from  them.    . 

Theodore   T.   Cavanaugh. 
130  South   Belmont   Street. 
Glcndale,    California. 

Continued  on  page  96 


13 

Hi 


J> 


"I've  Come  to  Take  You  Away  from  This- 
To  Marry  You  To-night! 


In  a  sudden  lull  of  the  music,  Wayne's  words  came  tense  and  impassioned.     Dozens  of 
-  ught  the  speaker.     The  other  dancers  began  to  crowd  around  the  two  men 
and  the  girl. 

In  that  dramatic  moment  Valerie  knew  her  heart.     She  must  sacrifice  her  wealthy  home 
and  the  affection  of  her  lather  to  elope  with  the  poor  man  she  loved. 

Later,  in  the  grim  reality  of  pov<  rty  and  the  weakness  of  her  husband,  Valerie  sought  a 
new  understanding  of  life,  and  the  courage  to  rebuild  her  shattered  dream-. 

net  in  a  night  club,  Valerie's  grace  and  exotic  beauty  carried  her  far.     She 
above  the  bleakness  of  disillusionment  and  won  the  love  and  happiness  she  so  j 
red 
Those  who  have  read  "Nice  Girl"  and  "Angel   Face"  will   find  all   their  glamour  and 
sympathetic  appeal  in 

Moon  Magic 

By  VIVIAN  GREY 

This  book  is  one  of  the  CHELSEA  HOUSE  NEW  COPYRIGHTS,  the  famous  line  of 
cloth-bound  books  selling  at 

75  Cents  a  Volume 

GO  TO  YOUR  DEALER  NOW  AND  ORDER  YOUR   COPY   OF  "MOON   MAGIC," 
OR  IF  HE  DOFS  NOT  CARRY  IT   IN   STOCK,  ORDER  DIRECT    FROM    THE 

PUBLISHERS. 


CHELSEA    HOUSE,   Publishers  79   Seventh  Avenue,   New  York 


® 


14 


HEtP 


yourself  ro  rhc  bert 
time  you've  had  in  year// 


'Where  the  H 
is  Mulligan? 


Out  go  the  lights!  On  go  the 
thrills!  Into  the  mystery-mansion 
stalks  the  "Gorilla",  a  mind  of 
a  master-criminal — lust-cravings 
or"  a  beast-  In  walk  Mulligan  and 
Garrity,  the  two  dumb  detectives, 
and  then  the  fun  begins.  It 
shouldn't  be  missed. 


NATIONAL  PICTURES,   INC. 
presents  it  with 

JOE 


FRISCO 


Mulligan  and  Garrity  (Joe  rriso  and 
Harry  Gribbon)  the  two  blundering 
detectives  who  see  all,  hear  all  and 
know  nothing.  They're  a  riot! 


ry  Gribbon      .      .      Walter  Pidgeon 
Story  by  Ralph  Spence 
Directed   by   Bryan  Foy 

Mysterious!      Hilarious!      Stupendous!      "The 
Gorilla"   Will    Give    You    The'  Thrill    Of 

Your    LAFFtime! 

/ 


/ 


aYRlK^s 


'  Vita  phone ' '  is  the  registered  trademark  of  The  Vita  phone  Corporation  designating  its  products. 


A  FIRST  NATIONAL  *  VITAPHONE  PICTURE 


15 


PICTURE  PLAY,   December,   1930       Volume  XXXIII     Number  4 


'Along  Came  Youth"  i-.  one  title  that  won't  be  changed,  for  it  perfectly  describes  the  new  est  venture  <>i  Budd) 
int.  carefree,  and  with  incidental  songs  to  emphasize  these  qualities,  he  is  a  young  Amei 
ican  in  London  whose  financial  difficulties  force  him  to  advertise  tin-  clothes  of  a  fashionable  tailor  by 
ring  them.    This  adventure  causes  him  blithely  to  seek  others  until  he  rides  a  horse  to  victory  and 
w::  rl  he  loves,  played  by  Frances  Dee,  the  former  extra  who  discovered  that  she  could  sinj,'. 


16 


Norma  Shearer  proves  what 

ambition   will   do   to   make 

a  star. 


Even   more    than   a   dancer 

Marilyn  Miller  shines  as  a 

personality. 


Of  all  qualifications,  charm 

comes  first.     Janet  Gaynor 

has  it. 


Sensuous    allure    is    the 

strongest  attribute  of  Greta 

Garbo. 


What  a  Girl  Needs 

Any  one  of  thirteen  qualifications  will  put  a  star  across,  says  Joseph 
and  who  possesses  them.  His  opinions  are  startling  and  probably  will  be 
that  he  speaks  with  the  authority  of   years  on  the  stage,  as  well  as  the 

than  usual  knowledge 


B?  5 


c 


Joseph    Santley    starred    in 

stage  melodramas  from  the 

age   of  nine  to   eighteen. 


|OME    this    Janu- 
ary,  twenty-six 
hundred    years 
ago,  Juno,  queen  of  the 
big  shots  of  those  days, 
had  a  watchman  named 
Argus.    He  was  reputed 
to  have  a  thousand  eyes 
and  to  be  able  to  see  with  any  part  of  his  body. 

Juno  suspected  her  consort,  Jupiter,  of  permitting  his 
affections  to  stray  occasionally  and  she  set  Argus  to 
watch  him.  But  Jupiter  knew  a  trick  or  two  himself. 
He  lulled  Argus  to  sleep  and  proceeded  with  his  little 
flirtation,  first  taking  the  precaution  of  enveloping  him- 
self and  lady  in  a  cloud. 

Juno  noticed  the  cloud  and,  being  familiar  with  the 
habits  of  the  cumuli,  knew  they  didn't  ordinarily  hover 
so  close  to  earth.  She  brushed"  it  aside,  and  found  her 
husband  and  Io,  the  lady,  in  a  rather  compromising 
position. 

I  think  she  changed  Io  into  a  heifer,  refused  to  let 
Jupiter  out  at  night  for  a  month,  and  she  was  so  furious 
with  Argus  she  took  all  his  eyes  but  one  and  threw  them 
on  the  tail  of  her  favorite  bird,  the  peacock.  A  few  of 
the  eves  went  wild  and  they  floated  around  in  space  for 
twenty-five  hundred  and  some  odd  years  until  Joseph 
Santley  came  along.  As  the  stork  was  bringing  Joe 
through  the  air.  he  managed  to  grab  those  extra  eyes 
and  swallowed  them  before  the  stork  knew  what  he  was 
about.  You  know  how  children  are  always  putting 
everything  they  can  grab  into  their  mouths? 

\nd  that  is  why  Joe  is  reputed  to  have  eyes  in  the 
back  of  bis  head  as  well  as  where  the_\'  ordinarily  are. 
Right  ?     The  eyes  have  it. 

Unlike  Argus,  however,  he  seems  never  to  sleep,  and 
there  is  no  one  who  so  nearly  personifies  the  slogan  of  the 
Pathe  new-reel      "Sees  All.  Knows  All" — as  Joe  Santley. 


amueJ 


He  has  been  on  the  stage  since  he  was  nine  years  old 
and  was  starred  in  melodramas  from  the  time  he  was 
nine  until  he  was  eighteen. 

When  he  was  eighteen  or  nineteen  he  went  into  musi- 
cal comedy,  although  he  couldn't  dance  a  step  and  his 
voice,  as  he  has  explained  to  me  on  more  than  one  occa- 
sion, will  never  cause  McCormack  any  worry.  But  by 
watching  all  the  good  dancers  he  saw,  he  developed  into 
such  a  remarkable  dancer  himself  that  inside  a  few 
years  he  was  again  being  starred — this  time  in  a  musi- 
cal piece  he  had  helped  to  write — called  "When  Dreams 
Come  True." 

One  piece  followed  another  with  amazing  rapidity — 
"Oh,  Boy,"  "Oh,  My  Dear,"  "The  Half  Moon,"  "She's 
A  Good  Fellow,"  a  couple  of  the  Music  Box  Revues, 
"Just  Fancy,"  and  "Mayflowers." 

And  through  all  those  years  Joe  was  using  every  eye 
he  ever  had  for  the  purpose  of  observation.  Aided  and 
abetted  by  a  memory  like  an  elephant's  he  has  remem- 
bered most  of  what  he  has  seen.  And.  baby,  that's  been 
plcn-ty. 

If  there  is  a  person  in  existence  who  knows  exactlv 
what  it  takes  to  put  a  girl  across  it's  this  same  Joe 
Santley. 

Knowing  his  analytic  nature,  it  occurred  to  me  that 
since  associating  himself  with  pictures  as  a  director,  he 
would  be  pretty  familiar  with  what  a  girl  needs  to  crash 
the  gates  of  Hollywood  in  a  big  way. 

"It's  a  funny  thing."  said  Joe.  "most  people  are  scared 
to  death  of  the  number  '13,'  but  I  think  there's  a  lucky 
psychology  attached  to  it.  Often  I  used  to  study  girls 
in  the  chorus  and  small  parts  in  my  shows  and  figure 
out  what  they  had  that  would  put  them  across  on  the 
stage.  And  I  found  that  if  they  had  any  one  of  thirteen 
qualifications  they  stood  a  pretty  good  chance  of  success. 

"Since  coming  into  pictures  I've  done  the  same  thing 
and  the  same  thirteen  points  hold  true. 


17 


Sheer  ability  has  put   Ruth 
Chatterton  where  she  is  to- 
day. 


Showmanship    is    the    most 

valuable    gift    of    Alice 

White. 


in  Hollywood 

Santley.  who  then  proceeds  to  tell  what  they  are 
challenged  by  the  fans,  but  it  cannot  be  denied 
experience  of  a  motion-picture  director  with  more 
of  acting. 

Richard   Mook 


"The  first  thing  that  would  put  a  i,'irl  across  is  charm. 
Maude   Adams   had   more  charm   than   any    one   person 
ever  on  the  stage.    She  was  never  considered  a  remark- 
but  she  didn't  have  t<>  he.     Just  to  sit  in  a 
that  charm  envelop  you  was  all  most 
'.      The  extent   to  which   she   possessed  that 
lity  ma)  -d  by  the  fact  that  people  remember 

and  clamor  for  her  return  after  years  of  retirement. 
it  to  a  remarkable  degree  i- 
Ethel  Barryinore.     In  her  early  days  on  the  stage  she 
had  litt'  -  her  charm — the  days  when  she  played 

in  innocuous  thine-;  like  'Captain  Jinks,'  'Carrots,'  and 

until  after  she  married  and 
had  a  baby  thai  red  an  outstanding  success  as  an 

'Mid-Channel.' 
"And  on   thi  Mary   Pickford,   Helen   Tw  i 

trees,    and    Janet    Gaynor    have    got    by    chiefly    on    the 
e  quality.     I  don't  say  they  haven't 
de\  ding  ability  to  support  it.  but  it  was  their 

charm  that  captured  public  fancy  in  the  first  place. 

"The    second    thing,"    he    continued,    "is    personality. 
Xext  to  charm.  I  think  that  is  thi  a  player 

can  have.     I  think  it  is  what  put  Marilyn  Miller  an 
She's  a  good  dancer,  but   no  better  than    Mary   Eaton. 
Shi  'ii.     Yet   Marilyn  gl< 

with  warmth  while  Mary's  natural    friendlii 
her  wh<  >n  the  stage.     Marilyn  isn't  a  great 

■r  a  ma:  sonality. 

n  the  screen,  the  same  may  be  said  of  Clara 
She  has  the  mos  in  pic- 

tures and.  while  it's  her 

nality  that  t 
C  third  thii  lity.     Tl  two 

ho  have  merit — 

Jar.  thartne  Cornell.     Miss  Cowl   is 

t  beauty,  but   it   wasn't   that   which 
gained  her  i  light  her  way  to  the  top 


Wit     and     humor     lifted 

Marion   Davies  out  of   the 

chorus. 


Beauty  alone  brought  suc- 
cess to  Katherine   McDon- 
ald. 


through  years  of  work  in  stock  companies  by  fore. 
her  ability. 

"Katharine  Cornell  gave  an  outstanding  performance 
in  'A  Bill  of  Divorcement" — so  outstanding  that  she  was 
starred  shortly  afterward,  and  she  has  established  h 
self  as  one  of  the  foremost  actresses. 

"Their  counterpart  in  the  cinema  is  Ruth  Chatterton. 
She  is  not  a  woman  of  outstanding  charm,  nor  is  she 
regarded  as  a  great  beauty.  It  is  simply  the  workman 
like  manner  in  which  she  goes  about  her  character 
tions,  and  the  great  finesse  with  which  she  plays  them, 
that  has  caused  her  to  be  regarded  as  probably  the 
most  versatile  actress  on  the  screen." 

I  wondered  what  some  of  our  stars  would  have  to  sa\ 
when  they  read  this  pronunciamento  and  felt  a  little 
sorry  for  Joe.  Well,  as  Warren  llvmer  says  over  a 
corpse,  "Tie  was  a  great  guy." 

"The  fourth  thing,"  he  went  on  recklessly,  "is  ambi- 
tion. T  can  think  of  no  more  ambitious  woman  on  tin- 
stage  than  Lynn  Fontanne.  She  used  to  play  support- 
ing parts  with  Laurette  Taylor  when  the  latter  was  at 
her  height  as  a  star.  Then  Lynn  was  given  the  lead  in 
'Dulcy'  ainl  to  say  she  was  a  sensation  is  putting  it  mildly. 
She  went  from  one  hit  to  another  after  that. 

"Suddenly  she  left  the  commercial  managers  flat  and 
went  to  the  Theater  Guild  in  the  days  when  the  Guild 
paid  more  in  glory  than  in  dollars.  Lynn  knew  that  they 
were  putting  on  the  best  shows  in  the  country  and  that 
she'd  have  more  opportunity  with  them  than  with  any 
one  else.  She's  sacrificed  the  almighty  dollar  to  golden 
opportunity.  She  deserves  every  bit  of  the  success  she's 
had. 

"Norma  Shearer  typifies  this  same  trait  in  pictures. 
Mis-  Shearer  trekked  from  one  studio  to  another  for 
aim  -i   years,  trying  to  get   a   start.     She  played 

extras,  hit-    -anything  that  came  her  way.    When  nothing 
came   her   way    she    tilled    in    the    gaps    by    modeling    for 
artists  and  by  playing  the  piano  in  movie  houses.      1'  ha- 
only  been  an  unswerving  purpose  and  ambition  that  1 
put  her  for  she  had  handicaps  that   the  ordinary 

isn't.     My  h.at's  off  to  both  the-. 

His  hat  may  ha  "U.  hut  he  figuratively  com- 

mitted  suicide  with  his  next    utterar 

"The  fifth  thing,"  he  said,  "is  beauty.     When  on  the 

e " 

."  I  interrupted,  "we've  been  friends  a  long  time 
and  I'd  hate  nything  happen  to  you.  on 

your  own  account,  but  I  like  Ivy  and  the  kids.     I  .< 
the  fifth  thing  is  beauty  and  not  mention  an) 
Some  of  tli-  '«or  under  great  deliu 

look 

"No,"  hi  red  firmly,  "we'll  call  nan 


18 


Specializing,  even  in 

baby  talk,  can  make 

a   star.       Look   at 

Helen  Kane! 


X 


What  a  Girl  Needs  in  Hollywood 

A  mental  picture  of  Ivy  walking  slowly  behind  him  while  the  hand  played  "Hearts 
and  Flowers"  upset  me  and  I  could  make  no  further  effort  to  control  his  rashness. 

"On  the  stage  there  have  been  two  outstanding  beauties  of  all  time — Lillian  Russell 
and  Maxine  Elliott.  Their  names  were  synonymous  with  extreme  pulchritude,  and 
no  one  will  argue  when   I   say  their  success  depended  chiefly  upon  that  asset." 

Miss  Russell  has  passed  on  and  Maxine  has  retired.  Billie  Burke,  Elsie  Ferguson, 
Jane  Cowl,  Ethel  Barrymore,  and  a  few  others  may  feel  a  little  slighted  at  the 
omission  of  their  names  under  this  category,  hut  Joe  explained  that  all  these  others 
had  something  else  besides  beauty  to  offer. 

"On  the  screen,"  this  dare-devil  went  on,  "I  should  say  that  Corinne  Griffith,  Billie 
Dove,  and — if  you  recall  her — Katherine  McDonald  all  owe  their  success  solely  to 
their   looks.      There  are   several   others,   hut  these  three  are  outstanding." 

Well,  he  can't  say  I  didn't  warn  him. 

"Sixth  comes  sex.  Lenore  Ulric  on  the  stage  and  Garbo  on  the  screen.  Both  these 
ladies  have  other  attributes,  hut  it  was  their  sensuousness,  their  voluptuousness,  that  at- 
tracted attention  to  them  in  the  first  place. 

"Seventh  is  figure.  Ann  Pennington  dances  well,  hut  when  she  started  she  was  no 
better  than  a  lot  of  girls  in  thechorus  behind  her.  It  was  her  cute  figure  that  made  them 
single  her  out  as  worthy  of  a  chance.  She  studied  and  developed  as  a  dancer,  but  it 
was  her  figure  that  started  her. 

"The  same  is  true  of  Olive  Borden.  When  Olive  started  in  pictures  it  wasn't 
her  face  that  was  her  fortune — it  was  her  lines.  Producers  realized  it  and  the  stories 
and  clothes  they  gave  her  were  designed  to  reveal  as  much  of  the  chassis  as  possible. 
That    she    was    developed    into    a    capable    actress    since   then    is   to   her   credit." 

"Joe,"  I  pleaded,  "don't  you  think  we  ought  to  stop  here  and  just  call  the  story 
'Unlucky  7'  or  'Unlucky  Joe'?" 


K 


Sheer  beauty  is  the  first  of  Billie 
Dove's  claims  to  stardom. 


Olive  Borden's  figure — her  lines 
and  limbs — made  her  a  star  be- 
fore she  became  a  good  actress. 


"No,"  he  answered  sturdily,  "there  are  thirteen  points.  You  asked  for  them 
and  you're  going  to  get  'em.  The  eighth  is  showmanship — making  oneself 
different  from  the  herd.  Take  Gaby  Deslys.  She  used  to  wear  the  most  bizarre 
headdresses  imaginable.  It  almost  took  an  acrobat  to  balance  them.  That's 
what  first  attracted  attention  to  her." 

"I  thought  it  was  her  little  affair  with  the  ex-King  of  Portugal,"  I  murmured. 

"But  what  caused  the  King  of  Portugal  to  notice  her?"  he  demanded. 

"I'll  bite— what?" 

"The  headdresses.     lie  saw  a  chance  to  feather  his  nest. 

"And  in  pictures  both  Joan  Crawford  and  Alice  White  put  themselves  across 
through  their  showmanship. 

"Joan  used  two  methods.  First,  she  got  herself  on  the  reception  committee 
to  meet  every  prominent  person  who  came  to  Hollywood.  She  was  always 
right  there  with  the  big  smile  when  they  blew  in.  When  the  photographers 
from  the  local  papers  and  the  news  cameramen  snapped  the  arrivals  and  the 
reception  committee.  Joan  was  there  with  the  tooth-paste  grin. 

"And  another  thing  she  did  that  drew  notice  was  to  dance  in  almost  every 
contest  in  town.  She  had  cute  little  trunks  and  dresses  made  so  that  when  she 
whirled  around  they  flew  out  and  showed  the  trunks.  She  had  a  nice  figure, 
she  was  a  good  dancer  and  the  two  combined  won  her  many  a  cup. 

"Alice  White  pursued  different  tactics.  She  used  to  go  into  the  shops  along 
the  Boulevard  and  give  the  proprietors  autographed  pictures  of  herself  to  put 
in  their  windows.  So  everywhere  yon  looked  you  saw  pictures  of  Alice.  And 
it  registered  with  studio  people  so  well  that  she  was  identified  at  least." 


What   a   Girl   Needs   in   Hollywood 

Tlu  no  stopping  him,  so  I  marked  down  a  1  >i u;  "  and  sat  back  to  listen. 

"Specialtj       i  Isie   Janis    was   a   kid    when   she   used    to   do   imitations   ol    prominent 

people  in  vaudeville.     She  mimicked   so   well  that  a  hii;  producer  weir  her  and 

starred  her   in  'The   Vanderbilt   Cup.' 

'"And  Helen  Kane's  manner  of  singing  baby  talk  differently  than  any  one  else  is  undeni- 
ably what  induced  Paramount  t<>  feature  her  in  'Sweetie.'  and  Mar  her  in  'Dangerous  Nan 
McGrew.' 

"The  tenth   is   notori  his  will    draw    sufficient    attention   to   you    to   gel    you   a 

chance,  but  you  can't  la>i  unless  you've  something  else  to  hack  it  up  with. 

sj)  Hopkins  Joyce  achieved  at  least  a  start  on  the  stage  simply  on  the  strength 
y*>\  her  husbands  and  jewels.  And  1  think  it  was  notoriety  she  got  as  [mogene  Wilson  that 
first  got  the  present  Mary  Nolan  a  chance.  Having  found  a  chance,  she  was  clever 
enough  to  know  that  notoriety  wouldn't  keep  her  on  top  so  she  went  to  Germany,  changed 
!ier  name  to  Mary  Nolan,  came  hack  and   put  herself  over  as  the  latter." 

I  remembered  the  days  in  the  pre-Hays  era  when  every  notorious  murderer  or  murderess 
who  was  acquitted  im>i  an  offer  to  star  in  pictures.     But   who  was  I   to  argue? 

"The  eleventh  is  chic.  The  ability  to  wear  clothes  kept  Irene  Castle  going  long  after 
people  had  lost  interest  in  her  as  a  dancer.  In  fact  1  doubt  that  there  are  many  people 
who  remember  Iter  in  the  latter  connection.  They  recall  the  girl  who  could  wear  clothes 
as   few  women  could — or  can. 

"And  certainly  her  smart   appearance   was   no   small    factor   in    Ina   Claire's   SUCCei 

"The  same  can  be  said  for  Constance  Bennett.  Connie,  as  well  as  Miss  Claire,  has 
other  things  to  recommend  Iter,  hut  not  the  least  of  her  assets  is  her  gift  for  putting  on 
lovdj  ind  making  them  look  even   lovelier  because  she  wears  them. 

"The  twelfth  i<  wit.  When  Laurette  Taylor  was  playing  a  minor  part  in  a  show  I  was 
starr  died  'From  Rags  to  Riches,'  she  used  to  keep  the  whole  company    convulsed 


!■> 


X 


Motherly  charm  brought  fame  to 
Mary  Carr  just  as  it  did  to  Mar- 
garet Mann. 

Chic  finds  a  brilliant  disciple   in 
Ina   Claire. 


The  ability  to  wear 
clothes     is     an     art 
with  Constance  Ben- 
nett. 


X 


with  her  wit.  And  if  she  went  to  a  party  after  the  -how,  you  could  depend 
upon  her  to  be  the  life  of  it.  Anything  for  a  laugh,  and  that  was  no  small 
factor  in  getting  her  a  chance. 

"The  wittiest  woman  in  pictures  to-day,  to  my  way  of  thinking,  is  Marion 
Davies.  And  it  was  her  wit  that  first  caused  her  to  he  picked  out  of  the  chorus 
and  given  a  chance.  She  used  to  keep  everybody  giggling  all  the  time  and 
finally,  because  he  liked  her  good  nature  and  jokes,  the  director  of  one  of  my 
shows — 'Stop,  Look  and  Listen'— gave  her  a  hit  in  one  of  the  numbers.  It  was 
g  called  'The  Girl  on  the  Magazine  Cover,'  and  just  through  her  infectious 
humor  Marion  made  that  girl  different  from  the  other  three  in  it.  So  different 
that  she  was  given  a  small  part  in  another  show  of  mine  called  'Betty.'  " 

I  remembered  "Betty"  chiefly  because  it  was  tlu-  piece  in  which  Joe  ami  his 
wife.  Ivy  Sawyer,  met  for  the  first  time.  They  had  brought  Ivy  from  England 
for  the  leading  part  and  Joe  immediately  picked  her  for  another  pari — that  of 
Mrs.  Santley. 

"The  last."  he  continued  undaunted,  "is  the  lucky  thirteenth  -motherly  charm. 
Mrs.  Thomas  Whiffen  is  past  eighty  and  she  Lu-ts  an  ovation  every  tim< 

on  the  stage.      In  pictures  we  have   Mary  Carr  and   Mar-ant    Maim,  both 
of  whom  ^ive  performances  that  wrin^  our  hear! 

"Well.  Joe."  I  said.  "I  hope  that  after  this  story  is  published  we'll  both 
her  lunch." 

Whether  some  of  the  ladies  mentioned  take  umbrage  or  not.  here  is  one  man 
who  knows  the  theater  from  the  ground  up.  And  hi-  has  learned  what  it  takes 
to  put  a  picture  a  well  as  he  knows  what  it  takes  to  make  a  girl  a 


20 


E  ich  _  SM     Just  WKo  Are 

heim    has    long 

considered     him-      With   all    Hollywood    announcing    itself   as   having 
self   Hollywood's  ,•   ,        .        ,        .r    .  .,  ,  , 

sophisticate    pa,     wh,rl     at     classifying     the     stars     and     analyzing 

By  Elsi 


sophisticate     par 
excellence. 


Clara     Bow     has 
her   own  individ- 
ual  brand   of   so- 
phistication. 


T 


HERE  was  a  time,  and  not 
so  far  in  the  past,  either, 
when  no  star,  especially  no 
lady  Mar,  dared  admit  any  degree 
of  sophistication.  It  wasn't  consid- 
ered quite  nice! 

But  times  have  changed.  The 
gishy  pickfordness  of  Hollywood's 
Age  of  Tnnocence  has  vanished  into 
limbo. 

In  those  dear  dead  days  Mary's 
curls  dictated  ingenue  styles,  and 
Lillian'.-  stained-glass  attitude  was 
the  accepted  debutante  pose. 

The  fans  collected  photos  of  mincing  misses  in  bungalow 
aprons  and  garden  hats,  swinging  on  gates,  or  with  their 
noses  buried  in  baskets  full  of  kittens,  puppies,  or  other  im- 
mature fauna,  or  frolicking  in  daisy  fields  with  woolly  lambs. 
Under  no  circumstances  were  they  ever  seen — for  publica- 
tion—petting  anything  more  worldly-looking  than  a  milch 
cow. 

Hollywood  emerged  so  gradually  from  the  larval  stage 
that  it  is  a  little  difficult  to  trace  its  changes  from  pupa  to 
boop-boop-a-doop,  which  is  as  good  a  term  as  any  to  describe 
the  present  era.  But,  looking  hack,  several  incidents  and 
personalities  stand  out  like  landmarks  along  the  rocky  road 
we  have  traveled  in  our  journey  from  naivete  to  sophis- 
ticatioi  . 

Le1  it  he  understood  at  the  beginning  that  we  followed 
no  precedents  in  arriving  at  our  goal ;  in  this,  as  in  everything 
eNe.  we  were  original.  The  Hollywood  brand  of  sophistica- 
tion is  a  strange  and  gaud}'  efflorescence  unlike  any  other 
in  the  civilized  world. 

It  is  a  curious  fact  that  we  had  some  simon-pure  sophis- 
ticates in  our  midst  long  before  we'd  ever  heard  the  word. 
These  choice  spirits  were  regarded  simply  as  "queer."  and 
tolerated  rather  than  admired.  Nazimova,  for  instance.  The 
once-greal  Russian  hit  the  film  colony  like  a  bursting  bomb, 
scatters  g  Continental  ideas  all  over  the  place. 

Who  can  forget  the  shock  of  discovering  that  the  gentle- 


man who  accompanied  her  to  Hollywood  and  acted  as 

her  manager  and  sometimes  as  her  leading  man,  was  not, 

in  truth,  her  husband  ! 

The  startling  fact  came  out  when  he  up  and  married 

another  lady  without  the  formality  of  a  "divorce"  from 

Alia.  She  took  the  blow  on  the 
chin,  with  the  philosophy  of  the 
true  sophisticate.  But  Holly- 
wood in  those  days  was  out- 
wardly as  circumspect  and  con- 
ventional-minded as  a  ladies'  aid 
sewing  circle.  It  sympathized, 
perhaps,  hut  it  couldn't  condone 
such  liberal  views,  and  turned 
thumbs  down  on  the  Russian. 
Her  film  career  fizzled  out  like 
a  wet  firecracker. 

To  Joseph  Hergesheimer  must 
go  the  credit  for  making  us 
sophisticate-minded,  and  Aileen 
Pringle  was  the  lady  he  chose 
to  exemplify  our  advance  in 
worldliness. 

It  has  always  been  a  matter 
for  wonder  to  us  intelligentsia, 
as  we  like  to  call  ourselves,  what 


If  Ruth  Chatterton  is  sophisti- 
cated,   what    of    Alice    White? 

Constance   Bennett   is  a  leader 
of  the  movement. 


21 


the  Sophisticates? 

gone    sophisticated,    a    brilliant    observer    takes    a 
their    qualifications    for    this    doubtful    distinction. 


Wheezer  is  the 
only  player  who 
makes  no  claim 
to  worldly  expe- 
rience. 


Q 


ue 


happened  to  Joe  that   started  him  writing  article 
the  Saturday  rifying  the  almost 

lessly  primitive  Aileen  and  her  domino  parties. 

Up  to  that  time  we  didn't  even  suspect  that  the 
sant  Prii  -  addicted  to  dominoes.     But  exit 

elty 
of  it  hit  Mr.  Hergesheimer  I 
a  r<>w  of  ( 'oroi 

He  wrote  maudlin  reams 
about  it,  mention 

that  Aileen"-  gum-chewing  was 
the  best  he  had  (  ;  in  the 

(1  that  her  lively 
manner  which     i- 

marked  by  a  facile  use  of  im- 
proper nouns,  had  him  tied  in 
admiration. 
That,   for  some  strange  rea- 
-    how    the    sophist  i« 

that    we 
spersions   on 
Ailecn's  right  to  a  place  am 
the  elect — far  from  it ! 

One  enlarges  upon  the  inci- 
dent simply  to  point  out  that 
from    the    fir^t    the    Ilollvw 


s   tor 
ruth- 

puis- 
lentlv 


Lupe  Velez  leads 
the       child-of-na- 
tnre  school  of  so- 
phistication. 


Ina   Claire's  worldliness  is  her 
greatest   charm. 

Gloria     Swanson     knows     the 
secret  of  true  sophistication. 


concept  of  sophistication  was  de- 
cidedly different  from  ideas  prevail- 
ing elsewhere  on  the  subject. 

The  Old  World  sophisticate  is 
comparable  to  a  pale  fungus,  de- 
pendent on  the  mold  of  centuries  for 
its  peculiar  qualities,  and  sending 
forth  a  delicately  decadent  aroma 
which  is  agreeable  only  to  hyper- 
sensitive nostrils.  The  Hollywood 
variety  is  a  vigorous  air  plant,  swing- 
ing lianalike  through  the  studio 
jungles,  spraying  its  orchidaceous 
blossoms  in  lush  profusion  over  every  founl  of 
bathtub  gin. 

'1  he  arrival  of  stage  people  in  large  numbers  has 
caused  some  sharp  cleavages  of  opinion  as  to  our 
sophisticate  rating. 

If  Ruth  Chatterton  is  one.  then  how  shall  we 
classify  such  girls  as  Clara  Bow,  Alice  White,  and 
Joan  Crawford,  formerly  regarded  as  leaders  of  the 
movement?  Constance  Bennett,  too,  has  caused  ns 
to  make  some  hasty  revaluations. 

It  i-  true  that  on  her  return  to  Hollywood  she  was 
hailed  by  one  well-meaning  but  misguided  press  agent 
as  "beautiful  ;i>  a  summer  dawn,  and  sophisticated  as 
a  night  clerk.'*  a  crude  comparison  which  must  have 
irefully  cultivated  Parisian  savoir-faire. 
Being  a  Bennett,  she  is  doubtless  innured  to  com- 
ment more  pungent  than  polite;  but  that  went  a  little 
too  far ! 

We  have  only  to  compare  the  poised  and  subtly 
elegant  Constance  with  that  child  of  nature.  Lupe 
Velez,  of  the  vibrant  torso  and  the  serpent's  tongue, 
to  realize  how  far  afield  we  Strayed  in  some  of  onr 
earlier  classifications. 

It  is  an  actual  fact  that  in  some  quarters  Lupe  was 
hailed  as  an  ultrasophisticate,  simply  because  of  her 
propensity  to  bite  her  young  man's  <ar>  in  public! 


22 


Just  Who  Are  tke   Sophisticates? 


William  Powell 
enjoys  his  com- 
plete disillusion- 
ment with  life 
and  is  blase, 
world  weary  and 
cynical. 


A  i  1  e  e  n  Pringle 
started  the  quest 
of  sophistication, 
and  for  a  while 
she  was  queen 
of  the  intelli- 
gentsia. 


( )f  course,  even 
Constance,  who 
lias  stirred  up 
such  discussion 
in  Hollywood 
since  she  came 
back  to  the  fold 
with  the  much- 
heralded  million- 
dollar  settlement 
and  a  nice,  re- 
fined divorce,  is 
a  mere  amateur, 
judged  by  Euro- 
pean standards. 
Connie  couldn't 
get  away  with  it 
over  there,  where 
they  do  it  so 
much  better,  as 
she  can  in  Hol- 
lywood.    Is  that, 

perhaps,  one  reason  why  she  decided  to  let  Paris  and 
Biarritz  worry  along  without  her?  Those  Bennetts  do 
adore  the  center  of  the  stage! 

Gloria  Swanson  was,  for  a  time,  determinedly  sophis- 
ticated, but  has  happily  forsaken  the  pose.  With  wider 
and  more  varied  experience  than  falls  to  the  lot  of  most 
women  of  her  age,  she  may  have  discovered  a  secret 
which  seems  to  have  evaded  the  majority  of  Hollywood 
aspirants,  namely,  that  the  essence  of  true  sophistication 
is  being  oneself. 

Anyway,  she's  the  most  interesting  woman  in  Holly- 
wood, and  unless  she  suffers  the  sad  fate  of  most  Ameri- 
can actresses,  in  being  plucked  and  thrust  aside  before 
she's  had  a  chance  to  ripen,  will  one  day  be  counted  the 
screen's  outstanding  contribution   to  the  art   of   acting. 

Speaking  of  Gloria  brings  to  mind  Kay  Francis, 
reputed  to  be  her  friendly  rival  at  the  moment  for  the 
elusive  favor  of  Ronald  Colman. 

Kay  is  a  sort  of  brunet  edition  of  Lilyan  Tashman — 
a  little  too  sleek  to  satisfy  the  punctilious  demands  of 
aristocratic  taste,  always  striving  for  a  perfection  of 
sartorial  detail,  which,  because  of  the  fact  that  it  is  a 
studied  perfection,  defeats  its  purpose. 

Hard,  glittering  like  the  synthetic  stones  of  the  cos- 
tume jewelry  they  choose  so  carefully,  these  former 
showgirls  perfectly  fulfill  the  butter- 'n'-egg  man's  dream 
of  sophisticated   femininity. 


Ivan  Lebedeff 
was  hailed  as  a 
sophisticate  when 
he  kissed  the  first 
hand  that  greeted 
him  in  Holly- 
wood. 


Mary  Pickford  is 
the  most  truly  so- 
phisticated wom- 
an in  Hollywood, 
in  the  best  sense 
of  the  word,  says 
Elsi    Que. 


Adolphe  Men- 
jou  was  for- 
merly Exhibit  A 
among  Holly- 
wood's mascu- 
line contingent, 
but  a  change  has 
come  over  him 
since  his  return 
from  a  sojourn 
in  France.  Per- 
haps the  fact  that 
his  diet  has  in- 
cluded more  pie 
than  caviar  of 
late  has  affected 
his  spirits. 

YV  e  have  a 
simple  system  of 
classifying  our 
male  sophisti- 
cates. If  an 
actor  can  bend  and  kiss  a  lady's  hand  without  giving  the 
impression  that  he  has  been  suddenly  taken  with  a  severe 
cramp,  we  promptly  pin  the  first-class  medal  on  him. 

This  gives  the  Europeans  a  big  advantage,  and  has 
resulted  in  some  bitter  and  contentious  feelings  among 
the  native-born,  especially  those  hailing  from  the  corn- 
and-hog  States,  where  hand-kissing  isn't  practiced  to 
any  large  extent. 

Erich  von  Stroheim  has  never  been  backward  about 
pushing  his  claim  of  being  the  only  genuine,  dyed-in-the- 
wool,  aged-in-the-wood  sophisticate  in  Hollywood,  but 
other  contenders  for  the  title  assert  that  he  is  disquali- 
fied because  of  professionalism.  Yon  does  make  rather 
a  business  of  it.  Runners-up  among  the  Continentals 
are  Joseph  Schildkraut,  Nils  Asther,  and  Ivan  Lebedeff. 
William  Powell  is  going  in  for  the  sophisticate  pose 
with  ingenuous  enthusiasm.  We  know  of  no  one  so 
naively  proud  of  his  complete  disillusionment  with  life 
as  is  Bill.  His  model  and  close  friend,  Ronald  Colman. 
is  more  gracefully  sardonic,  more  whimsically  weary 
with  it  all ;  but  Bill  does  mighty  well  for  a  comparative 
beginner. 

Lack  of  space  prohibits  an  enumeration  of  all  of  Hol- 
lywood's pretenders  to  sophistication.  They  are  legion. 
With  the  possible  exception  of  Mary  Ann  Jackson  and 
Wheezer,  of  "Our  Gang."  there  are  no  prominent  un- 
sophisticated filmites  any  more.         [Continued  on  page  111] 


23 


DT   let  the  scriou>  expression   on    I)  untenance   mis- 

lead   you,    for    she    is    nc\  1    to    her    intimai. 

"Midge,"  on  account  of  her  diminutive  si?-  with  the  joya 

and  entfv.:  nth.     She  i  I   in   II   llywood,  but  had  to 

go  t-  rk  and  get  an  ent  on  t!  ild  l>c 

d   for  the  films.     She  swims  like  an  eel.  lives  at  the  beach    for 
five  or  six  months  of  the  ;. •  .ned  to-  the  a  nut,   i-  always 

late   •  for  an   occasion,  and   is 

as   irrcpr  In   a''  attracting   attention    in 

"Rio  Rita,"  ".':'  I  at  Sunr  \iana."    M  added   to 

her 


21 


Not  As  the 


What  care  the  cinema  great  if  it  is  not  nice  to 

sleep    in    bathtubs?      For   they   are   not   slaves   to 

tivation    of    an    idiosyncrasy    or    two, 


By  Margaret 


Buddy    Rogers    is    the 

nine-o'clock     man     in 

mad  Hollywood. 


Clara  Bow  rises 
at  two  in  the 
morning  to  pre- 
pare a  hearty 
meal. 


IN  a  world  which  provides  ever-increasing  worry  for  the  poor  census 
taker,  individuals  are  somewhat  difficult  of  identification.  The 
features  of  one  mouse  are  easily  distinguished,  but  surround  one 
with  a  rodent  community,  and  it  is  just  an  oft-repeated  number.  So  it 
is  with  human  beings.  There  are  so  many  of  them.  In  mass  formation 
they  are  merged  into  a  people,  rather  than  a  group  of  persons.  Which 
is  all  very  well  for  a  third-act  finale,  but  ordinary  mortals  would  be 
disconcerted  by  continual  participation  in  a  Max  Reinhardt  mass  effect. 

Noses,  eyes,  and  such  arc  all  pretty  much  alike — arranged  in  approxi- 
mately the  same  positions  and  serving  the  same  purposes.  But  idiosyn- 
crasies are  another  thing  again.  By  these  are  the  individuals  distin- 
guished. Even  more  perceptibly  than  by  Poiret  are  persons  clothed  in 
their  special  peculiarities. 

On  a  thickly  populated  planet,  individuals  are  discernible  to  the  naked 
eye  only  by  those  little  accidents  which  occur  to  the  best-regulated  pat- 
terns. Due  to  some  cosmic  carelessness  while  the  mold  is  on  the  fire,  or 
on  ice,  or  however  it  is  these  things  are  celestially  accomplished,  little 
defects  mar  the  pattern.  A  penchant  for  black  shirts,  a  habit  of  sleeping 
in  bathtubs,  a  desire  to  go  up  escalators  that  are  coming  down — and  the 
damage  is  done.  Such  products  are  detrimental  to  the  established 
standard  of  quality — "no  two  unlike."  These  deplorable  errors  are 
marked  "seconds"  and  they  become  musicians,  pugilists,  poets,  com- 
munists, and  movie  stars. 

The  indulgence  of  little  whims  and  foibles  is  one  of  the  privileges  of 
greatness.  It  is  also,  being  a  lack  of  repression,  a  part  of  greatness 
Freedom  from  obedience  to  code  can  occur  only  when  respect 
ha^  previously  been  established.  The  king  can  do  no  wrong — a  pale- 
pink  morning  coat  would  be  no  faux  pas  in  royal  circles.  Bui  Mamie 
Jones  would  hardly  dare,  however  Garbo-smitten,  to  wear  old  sneakers 
to  a  dinner  party.     It  just  goes  to  show  you. 

Eleanor  Boardman  once  remarked  that  one  of  the  most  valuable 
rewards  of  cinema  success  was  the  escape  it  afforded  from  slavery  to 
"pinion.  With  the  security  of  definite  attainment  comes  release  from 
all  the  petty  politics  which  must  he  played  along  the  way  to  the  top — 
being  nice  to  the  right  people,  behaving  exactly  as  the  Romans,  wearing 
the  clothes  they  do,  observing  all  the  little  cliches.     It  is  difficult   for  the 


omans 


walk  up  escalators  that  are  coming  down  or 
convention  like  the  rest  of  us,  thanks  to  the  cul- 
the  very  first  step  toward  distinction. 


Norma  Shearer  eats 
dinner  at  noon,  and  is 
qnai 


than  successful  to  be  themselves.    Only  the  great  and  near  great, 

general  rule,  need  not  conform. 

But  not  all  idiosyncrasies  are  indulgence  of  previously  suppressed 

As   many   of   them  are   unavoidable   birthmarks,   the   little 

oddities  with  which  otherwise  standard  mortals  are  born.     Such  as 

Mary  Pickford's  precision  of   speech  and  manner.     Such  as  Gloria 

Swanson's  nose.     Such  as  Jim  Tully's  pugnacity.     Such  as  Marion 

Da\  nner.     Such  a-  Cecil  DeMille's  puttees. 

Or  such  as  Greta  Garbo's  passion  for  the  sun.     California  weather 

is  of  equal  importance  with   California  film-canning  to  the   Garbo. 

On  location  trips,  she  deserts  the  company  between  scenes  and,  fmd- 

-  >litary   sunny   corner,    stretches    full    length    on    the   ground. 

ween  scenes  at  the  studio,  she  sits  outside  tin-  stage  door  on  the 

sunny  side.     At  home  she  lies  on  her  back  in  the  sun  for  hours  at  a 

time,  never  moving,  just  luxuriating  somnolently  in  the  warm  ray-;. 

The  Garbo  ensemble  is  almost  perpetually,  despite  occasion,  tennis 

shoes,  camel's-hair  coat,  and  slouch  hat.     She  walks  with  her  hands 

in  her  pocket-.      And   she   walk-   a   great   deal,   always   alone.      And 

daily  in  the  rain.     SI     i  ever  eats  lunch  in  the  studio  commissary, 

disliking  to  eat  amoi  .    ■      pie.     She  lunches  in  her  dressing  room  on 

cream  soup,  a  sandwich,  two  slices  of  ^\vis^  cheese,  and  stewed  fruit. 

She  has  the  loi  \  lashes  in  Hollywood  and  a  nose  that  never 

shin  :  laconic,  never  speaking  unless 

It-finite  to  say. 

William    Haines    i-    restive    if    he   hasn't    perpetrated    at    leas;    one 

practical  joke  during  th<  -  his  pleasure  in  this  | 

of  humor  that  he  even  enjoys  practical  joke-  on  himself.     I  le  delights 

in    shocking  with    his    remarks    and    pranks.      He    has    a 

marked    wcakn<  leather   coats.      He    reads    art    catalogues    in 

preference  to  novels.     He  runs  his  home  with  surprising  competence. 

Hi-  luncheon  is  of  lengthy  duration,  because  he  laughs  so  mu 

I.  >Ia  Lane  won't  wear  diamonds,  hut  spends  considerable  sivns  on 
wh:  unk  jewelr  ivelty  and  sp  •  lrv. 

buying  even  the 

• 
always    carrie-    an    immaculate    pair    with    her,    a  -ion    to 


2G 


Not  As  the   Romans   Do 


She  can't  pass  one  without  rushing  in  and  emerging  with 
an  armload. 

Joan  Crawford  is  expert  at  rinding  bargains  and  is 
proud  of  her  record  of  never  being  gypped  at  a  bargain 
counter.  She  devotes  meticulous  care  to  her  finger  nails, 
which  are  always  well-groomed,  long,  and  gleaming  pink. 
She  would  rather  work  on  her  never-ending  succession 
of  hooked  rugs  than  go  to  the  theater.  She  always  eats  a 
large  salad  at  lunch,  with  four  pitchers  of  French  dress- 
ing. She  drinks  too  much  coffee.  She  never  uses  rouge. 
She  hates  to  wear  stockings,  and  does  only  when  necessary. 
Buddy  Rogers  says  "Yes,  ma'am!"  and  "No,  ma'am!" 
when  addressing  a  lady.  Except  on  the  very  rare  occa- 
sions when  he  goes  dancing  or  to  the  theater,  he  goes  to 
bed  at  nine  o'clock.  Between  scenes  at  the  studio,  he 
plays  the  piano  on  the  set,  or  goes  to  his  dressing  room 
and  practices  exuberantly  on  the  dozen  or  so  instruments 
be  keeps  there — trombone,  violin,  banjo,  traps,  all  the 
paraphernalia  of  the  jazz  that  is  so  dear  to  bis  heart. 

Punctuality  is  as  much  a  part  of  Norma  Shearer  as  is 
her  good  complexion.  She  is  never  late  for  any  appoint- 
ment, however  trivial,  and  orders  her  routine  so  com- 
petently that  she  has  plenty  of  time 
for  everything.  She  dines  at  noon  and 
is  satisfied  with  tea  and  toast  and  cereal 
in  the  evening.  She  loves  green,  par- 
ticularly apple  green,  and  keeps  as 
much  of  it  about  as  possible.  She  has 
her  Christmas  shopping  finished  and 
all  the  packages  neatly  wrapped  a 
month  before  Christmas.  She  always 
has  fresh  flowers  on  her  dressing  table. 
Gary  Cooper  never  eats  meat,  scorn- 
ing even  fowl.  When  be  is  tired  and 
nervous  after  a  trying  studio  day,  be 
goes  for  a  solitary  walk  up  a  hillside 
near  his  home.  The  top  of  the  hill  is 
deserted  and  there  Garv  sits,  looking 


Joan  Crawford  is  our  candidate  for  the 

only    bargain    hunter    who    was    never 

cheated. 


William     Haines 

likes     to    say 

shocking      things 

to  strangers. 


Leila  Hyams  always  car- 
ries a  novel,  a  cross-word 
puzzle    book    and    a    deck 
of  cards  to  the  studio. 


proprieties,  but  refuses  to  don 

them,  detesting  the  feel  of 
them  on  her  band--.  The  only 
Idnd  she  will  wear  without  re- 
bellion i-  pigskin  for  driving 
an  automobile. 

Ramon  Novarro  won't  drive 
a    car.      He    uses    studio    cars 
between   bis   home   and   work, 
lie  appears  well-dressed  only 
under    pressure,    being    indif- 
ferent   to   clothe-.      lie   has   a    small    piano    in   his 
die-sing  room  and  spends  leisure  moments  playing 
and    singing.      lb'    has    an    uncurbed    passion    for 
chocolate  eclair-.     He  prefers  little  Spanish  restau- 
rant-  in   the    Mexican    district    of    Los    Angeles   to   the    swanky 
restaurants  of  I  [ollywood. 

Marie  Dressier  wear-  i .earl-  at  all  times.  She  refuses  to 
own  a  car  or  a  house.  She  rents  a  car  and  chauffeur  by  the 
week,  and  leases  her  beautiful  hilltop  home  by  the  year.  \:>>v 
seventeen  years  she  has  had  the  same  maid — Mamie,  a  colored 
woman,  without  whose  devoted  vigilance  Miss  Dressier  would 
be  helpless,      blower  -hop-  are  a   constant    challenge  to   Marie. 


Not  As  the  Romans   Do 


27 


down  over  the  valley  and  smoking.     One  of  his 

favorite  amusements  is  to  go  over  his  relies  of  the 
plains — old  saddles,  spurs,  lariats,  sombreros, 
belts,  chaps.  In  such  moods,  he  even  puts  on  the 
Indian  regalia  presented  to  him  by  an  admiring 

tribe. 
Clara    Bow  always   wears  ankle-length   socks, 
sleeps  during  the  day  much  more  easily  than 
at  night.    Nocturnal  slumber  generally  eludes  her. 

and  at  two  or  three  in  the  morning  she  goes  into 
the  kitchen  and  prepares  a  hearty  meal  which  she 
it  happy  disregard  of  normal  schedules. 
Bessie  Love  makes  up  faster  than  any  one  in 
the  business.  She  wears  sweaters  and  skins  at 
all  jx>ssible  times.  When  she  reads,  she  lies  on 
the  floor.  She  is  always  in  a  hurry,  on  her  wax 
from  somewhere  and   just  a  trifle  late   for  some- 

re  else.     She  seldom  walks,  but  usually  runs. 
xpedition,  she  valiantly  plans 
to  buy  at  least   one  blue  or  green  dress,   but   in- 
evitably ends  up  with  yell 

It  is  doubtful  if  Lon  Chancy  owned  a  hat.  1  [e 
was  seen  only  in  caps.  lie  refused  t<>  sit  for 
still  photographs  or  make 
public      appearance-.         He 

ped  work  regularly  at 
five  thirty  and  would  not 
work  at  night  or  on  Sun- 
days. Me  gave  every  woman 
employee  of  the  studio  a 
glove  order  for  Christmas. 
He  sat  at  the  same  table  in 
the  studio  commissary  and 
was  served  by  the  same 
waitress  for  live  years.  He 
always  carried  his  stage- 
hand union  card,  relic  of 
previous  da 

When  Gary  Cooper  goes  into 
a  mood,  you  might  find  him 
trying    on    his    Indian    trap- 
pings. 


Ramon 

Novarro 

will 

not 

drive    a 

car,    and 
dress. 

hates 

to 

Ruth 

Chatterton 

wear-   men 

- 

walk  considerably 

more 

than 

a 

spiritual 

Lola     Lane     adores     imitation 
jewelry  and  won't  wear  gloves. 


William  Powell  goes  swim- 
ming at  night.  On  the  serv- 
ants' day  out,  when  he  has  to 
answer  the  telephone  himself, 
he  uses  a  broad  Italian  dialect 
until  he  finds  out  who  the 
caller  is  and  decides  whether 
or  not  he  wants  to  talk  to  the 
person. 

Leila  Hyams  would  rather 
play  bridge  than  eat,  and 
would  rather  work  cross-word 
puzzles  than  play  bridge.  She 
always  carries  the  most  recenl 
novel,  the  newest  cross-word 
puzzle  book,  and  a  deck  of 
cards  with  her  in  the  studio. 

What  the  well-dressed  young 
man  will  wear  holds  no  charm 
for  Charles  Bickford.  He 
wears  sneakers,  duck  trousers, 
a  sweater,  and  cap.  I  fe  has  a 
passion  for  argument  and  will 
take  any  side.  He  eats  vanilla 
ream  every  noon.  I  le  is 
always  prowling  about  garden 
nurseries,  buying  strange,  out- 
landish trees  and  .shrubs  which 
he  plants  in  the  garden  of  his 
beach  home. 

caps   on    the   beach    and    would 
mile    to    hear    a    good     >. 

•  inued  on  i>:n.'«    1 1_'| 


28 


Joan  Marsh  indulges  prettily  in 
pleasant  relaxation  after  sign- 
ing a  contract  with  Metro- 
Goldwyn,  though  it  must  be 
mental  strain  rather  than  writ- 
er's cramp  that  inspires  this 
charming  pose. 


T    T 


II 


Y1  Y  #  1  /~X    S*K 

i*»ii        a    B        aft        ■ 

v>^/  \^y  \*y  x^l 


•cry  -^^ 

J^ai^hi^4Ljlza  Ocnauert 


Cavorting  about   in  the  picture  world   to   capture  news  items  and  gossip  about  its  players. 


THE  place  is  filled  !  The  wheels  move  on  !  Wallace 
Beery  will  inherit  the  roles  Lon  Chaney  was  to 
have  played. 

Such  is  the  reported  decree  of  the  high  gods  of  studio 
destinies.  And  we  scarcely  know  any  one  who,  by  virtue 
of  long  association  with  pictures,  not  to  say  ability,  is 
better  qualified  to  carry  on  than  Wally. 

Chaney  had  no  rivals.  He  hewed  a  way  for  himself 
more  individual,  perhaps,  than  any  star,  and  he  held  onto 
success  with  greater  persistence  than  the  majoritv  of 
film  folk. 

Even  if  Beery  docs  appear  in  the  stories  Chaney  was 
to  have  made,  namely  "Chcri-hihi" — this  is  less  certain — 
and  "The  Bugle  Sounds."  these  will  he  materially 
changed.  No  one,  not  even  Wally,  could  hope  to  play 
them  just  as  Lon  would,  and  he  would  be  the  last  in  the 
world  to  attempt  it. 

The  Colony  Pauses. 

The  tribute  to  Chaney  at  the  time  of  his  funeral  was 
of  more  than  usual  solemnity,  for  the  reason  that  work 
was  suspended  at  practically  all  studios  for  a  brief  space 
of  time  in  his  honor.  This  has  been  done  only  in  occa- 
sional instances,  for  Wallace  Reid  and,  we  believe, 
Rudolph  Valentino. 

The  extremely  simple  chapel  service  was  attended  only 
by  the  family  group  and  a  few  friends  from  the  stellar 
world,  like  Lew  Cody.  Polly  Moran.  William  Uaines; 
Eddie  Gribbon,  Maurice  Costello,  and   Ruth   Roland. 

The-  mosl  touching  moment  was  when  the  melody. 
"Laugh,  Clown.  Laugh,"  was  played  by  two  musicians 
who  had  worked  with  Chancy  during  the  filming  of  most 
of  his  production-.. 


A   Provident   Star. 

Chaney  died  a  comparatively  wealthy  man.  His  estate 
was  valued  at  $550,000,  most  of  it  going  to  Mrs.  Hazel 
( \.  Chaney.  Chaney's  son.  Creighton  Tull  Chaney,  was 
provided  for,  and  a  special  bequest  was  made  to  John 
Jeske,  designated  as  a  "faithful  servant."  but  who  was 
really  a  companion  of  the  star.     He  was  left  $5,000. 

Cleva  Creighton  Bush,  Chaney's  first  wife,  was  also 
mentioned  in  the  will.  The  actor  was  divorced  from  her 
more  than  twenty  years  ago.  She  is  the  mother  of  Creigh- 
ton, but  the  boy  almost  always  lived  with  his  father. 

The  Prince  Royal. 

Almost  coincident  with  the  Chaney  death  came  the 
birth  of  the  Thalberg-Shearer  son  and  heir.  One  might 
term  this  baby  the  crown  prince  of  the  Metro-Goldwyn 
establishment,  since  his  father  is  one  of  its  highest  execu- 
tives, and  his  mother  one  of  the  brightest  stars. 

Mother  and  son  did  well,  and  Miss  Shearer  left  the 
hospital  in  exactly  two  weeks.  There  was  a  veritable  storm 
of  flowers  and  congratulatory  messages  while  she  was 
confined  there,  which  will  he  remembered  most  keenly. 
perhaps,  by  the  hospital  attendants  who,  in  a  sort  of  con- 
tinuous procession,  had  to  deliver  them  to  Norma's  suite. 

Right  in  the  midst  of  the  Thalberg-Shearer  ccleln-ation 
came  the  arrival  of  the  Nicholas  Soussanin-Olga  Ba- 
clanova  son. 

Ladies,   Beware! 

"Sez   you!"   and   "Sez   me!"    will   be   partners  again. 

Edmund    Lowe   and    Victor    MeLaglen   are   to   do   their 

famous   impersonations  of  Sergeant   Quirt  and   Captain 

Flagg  in  a  picture  called   "Women  of  All   Nations,"  to 


Hollywood   HigK   Lights 


29 


be  made  this  winter.    It's  the  third  of  the  series,  includ- 
ing "What  Trier  Glory?"  and  "The  Cock-eyed  World." 

S  :ar  all  we  can  learn  about  the  picture  is  that  Raoul 
Walsh,  who  directed  the  other  two,  is  t<>  he  at  the  helm 
once  more,  and  that   Eddie  and   Y'ictoi  forsake 

their  khaki  uniforms  foi  parade  | 

of  the  marine-. 

All  we  hav<  the  ladies 

whom   there   are   to   he  many   ami    beautiful      had    bel 
look  .>nt.     If  Eddie  and  Victor  dress  up  there'll  be  no 
.  m. 

Siren   Lily   Returns. 

Which  (  mind  that   Lib    Damita,  who  was  the 

chief  siren  m  "The  <.  ock-eyed  World,"  is  with  us  again, 
playing  in  "Fighting  Caravans."    Trust  Lily  to  he  mi: 
up  with  a  battling  film  ! 

Most  <>!  the  time  she  has  been  working  on  location  for 

•.nre.  hut  she  is  expected  t<»  brighten  the  studio 

whei  "Sons  o'   Guns,"   with   Al  Jolson. 

Lily  was  in  the  stage  plaj  son,  from  which  the 

picture  i-  being  adapted. 

Jolson  has  been  in  Germany  of 
late,  starring  in  a  talking  picture 
in  the  lai  rountry. 

Al  surpr  -  llywood  with  his 

qualifications 

will  he  his  first 
production    for    United    Arti 
The  Warner  contract,  which  ap- 
jx>arcd    I  much    tempt 

mental  friction,  is  finally  over, 
and  Al  is.  from  all  reports,  happy 
in  his  new  association. 


Marjorie     White,    who    is    surely 
the    most     energetic     comediennes 
over    the   noise    she    will    make    in 
Thunder." 


"Jenny  Lind"  Survives. 
All  rumors  to  the  contrary  not- 
withstanding.    •"Jenny     Lind"     i- 

shelved.       We    an 
and   double   assured    of    this   by 
official  pronunciamer 

The  rumor  was  broadcast  that 
Grace  Moore's  film  was 
torrid,  and  that  it  would  not  he 
released — also  that  work  was 
the  feature  before  it 
was  finished. 

Only    tlu  statement,     it 

seems,  was  really  correct,  tin 
I>en.si..n      being      du<  .Miss 

Mooi  jrnment  to  the  "New 

•  ."   with    Lawrence   Tibh 
Two  picl  ibett  had  to  he  rushed  through 

in  order  that  he  mig  a  recital  tour.      He  has 

l>een  working  like  mad,  and  has  already  all  hut   finished 
up  I  I  film.  '"The  Southerner,"  which  immediately 

followed   "New    Moon."      Mis-    Moore   has   meanwhile 

ring  production. 

Song  is  Stilled. 
lary  Lev  m  Pathe  has  under 

contract.     I-  ready  much 

del:.  istponed,  or  never  made. 

Lack  of  demand  for  mus  blamed  for  this  situa- 

tion, and   M  trim  and   prel  re,   acquired   by 

careful  for   naught, 

far  as  films 

Ambitious  Scions. 

gain !     Big  <1 
for  Stellar    children,    who    seem    bent    on 

following  their  parents'  glittering  trails. 


First  there's  Frances  Rich,  eldest  daughter  of  Irene 
Rich.  She  spent  the  summer  in  the  studios  doing  extra 
work,  more  or  less  ;i>  a  lark.  Her  mother  insisted  that 
she  shouldn't  succumb  to  the  movie  bug,  however,  and 
lias  returned  to  Smith  College,  from  which 
she  will  he  graduated  next  summer. 

Then  there's  Ian  Torrence,  who  has  gone  into  sound 
recording  work  at  the  RKO  studio,  lie  is  the  son  of 
est  rorrence,  and  for  the  past  five  or  si\  years  has 
been  testing  his  talents  in  various  studio  departments. 
Sound  recording  seems  to  he  his  metier  now,  and  what's 
more,  he  is  doing  so  well  that  he  recently  wedded  a 
Beverly  Hills  debutante,  Miss  Liliore  Green. 

Still  again,  there's  Noah  Beery,  Jr..  who  is  playing  in 
I,"  which,  like  "Beau  Sahreur."  is  a  sequel  to 
"Beau  Geste."    You  may  remember  that  Noah,  Sr.,  was 
the  celebrated  heavy  of  the  earlier  film. 

"Beau  Geste"  Sequel. 

It  is  interesting  to  note  that  Ralph  Forbes  is  enacting 

the  same  character  in  "Beau  Ideal"  that  he  portrayed  in 

"Beau  Geste."     As  you  maj   re 

call,  he  was  the  only  brother  who 

survived    the    siege    against    the 

desert    fortress.       He  connects  the 

plots  of  the  two  stories. 

Iii  addition  to  Forbes,  the  more 
important  roles  are  presented  by 
Douglas  Fairbanks,  Jr.,  Don  Al- 
varado,  Leni  Stengel,  Paul  Mac- 
Allister,  and  ( )tto  Matiesen.  Miss 
Stengel  has  been  identified  as  a 
vamp,  hut  in  "Beau  Ideal"  she 
will  In-  cast  as  the  .  In  gel  of  Death. 
Which  does  seem  rather  esoteric. 


one    of 

smiles 

'Stolen 


When  they   paid 


Mildred  Gloria's  Sister. 

There  is  a  lucky  little  girl  named 
Peggy,  who.  if  all  progresses  fa- 
vorably, is  to  be  the  adopted  sister 
of  Mildred  Gloria,  the  Lloyds' 
daughter.  The  two  look  enough 
alike  to  he  related,  anyway. 

Harold  and  .Mis.  Lloyd  didn't 
want  their  child  to  he  lonely  on 
their  estate  in  Beverly  Hills,  and 
some    time    ago    they    decided    it 

would  be  best  to  adopt  a  child. 
They  heard  of  a  woman  who  was 
giving    her    life    to    the    can 
homeless  youngsters,  and  arrang- 
ing    for     their    care     by     others. 
>anl  a   visit   to  the  woman's  home,  the   first 
child  they  saw    was   Peggy,  whose   full  name  is   Marjorie 
Elizabeth,  and  they  were  captivated  by  the  youngster. 

several  months  now  Pegg)  ha-  been  residing  at 
the  Lloyd  home,  and  she  and  Mildred  Gloria  are  ideal 
companions.  They  are  just  a  year  apart  in  age,  little 
Mildred  being  six  and   Peggy  five. 

Certain  legal  formalities  remain  to  he  settled  before 
the  adoption  can  he  completed,  hut  it  is  virtually  certain 
that  there  will  he  two  children  in  the  Lloyd  household 
from  now  on. 

Name  Tradition   Followed. 

No    fitful    whim                   i    to   guide    the  actor    folk    in 

of   names    for  their  offspring.  Witness   the 

made    for   the    I'arrv  more   child.  She    is   called 

Dolores    Ethel    Mae    Barrymore.      Dolores    is    for    her 
mother,  Ethel  for  her  aunt.  Ethel  Barrymore,  and  Mae 
in  remembrance  of  Doloi      I      tello's  mother.  Mrs.  Mae 
ello. 


30 


Hollywood  Higk   Lights 


Photo  by     Fraker 


Both  John  Barrymore  and  his  wife  are   apparently 

faithful  to  the   tradition   that   names   should  be   picked 
from  the  family  tree. 

We'll  venture  that  if  the  child  had  been  a  boy  he 
would  have  been  called  John  Lionel  Maurice  Barry- 
more.  The  Maurice  would  have  been  very  appropriate 
since  Barrymore's  father  was  Maurice  Barrymore  and 
Dolores'  parent  is  Maurice  Costello. 

Jonah  Takes  New  Turn. 

Persistent  to  a  terrific  extent  is  the  George  O'Brien 
jinx,  for  at  this  writing  we  hear  that  there  are  some 
differences  over  his  salary,  which  may  lead  to  breaking 
his  connection  with  the  Fox  organization. 

Of  course,  the  mere  ending  of  a  contract  does  not 
always  spell  bad  luck  for  a  player,  but  it  is  not  consid- 
ered the  most  fortunate  sort  of  event  at  present.  Things 
arc  too  upset  in  movieland,  and  a  whole  host  of  stars 
who  were  formerly  drawing  weekly  salaries,  are  now  on 
the   idle   list. 

(  )'l>ricn  has  just  about  completed  five  years  under  the 
Fox  banner,  and  five  years  is  generally  the  life  of  a 
contract.  A  brand  new  one  has  to  be  entered  into  at  the 
end  of  that  period. 

So.  with  the  jinx  as  rampant  as  it  is.  we  hope  George's 
negotiations  will  culminate  happily. 

Cliff   No  Social   King. 
Cliff  Edwards,  familiarly  known  as  "Ukulele  Ike,"  has 
no  ambitions  to  lie  a  cotillon  leader.     He  denies  being  even 
a  mild  social  light.    It  all  came  out  in  his  divorce  trial. 


Cliff  has  been  having  a  legal  argument  with  his  wife  about  an  alimony 
settlement,  and  Mrs.  Edwards  has  asked  $250  a  week.  The  question  arose 
as  to  why  she  needed  that  much  money.  She  declared  she  had  to  maintain 
her  social  position.     She  was  asked  what  she  meant  by  that. 

"Well,  I  have  to  keep  up  appearances  befitting  the  social  standing  of 
Mr.  Edwards,"  she  answered. 

"Hey,  there!"  burst  out  Cliff.  "Don't  let  her  call  me  'Mister.'  I'm 
just  plain  Ukulele  Ike.  She  doesn't  have  to  worry  about  appearances 
on  my  account.     I  haven't  any  social  standing." 

Those  Pallid  Fortunes. 

Is  there  money  in  the  movies?  One  may  well  ask,  after  hearing  of  the 
valuations  placed  on  estates  left  by  two  actors  who  died  not  long  ago. 
One  was  Dustin  Farnum's,  the  amount  being  $10,000;  the  other  Rudolph 
Schildkraut's,  reported  to  be  only  $2,000. 

Farnum's  was  the  biggest  surprise,  for  it  was  estimated  some  time  ago 
that  he  was  the  possessor  of  a  half-million-dollar  fortune.  But  all  that  he 
had.  it  seems,  was  some  property  in  Maine. 

The  most  ironic  thing  about  Farnum  is  that  at  one  time  he  could  have 
had  a  fourth  interest  in  the  Paramount  corporation.  This  was  when  Jesse 
Lasky  and  Cecil  DeMille  started  making  pictures  in  California.  Farnum 
preferred  to  take  spot  cash  for  his  part  in  the  enterprise,  instead  of  the 
interest  in  the  business.  Had  he  taken  the  latter,  he  would  have  been  a 
millionaire  many  times  over,  in  all  likelihood,  at  his  death. 

New   Queen  Acclaimed. 
The  lady  of  the  hour — Ann  Harding !     All  signs  point  to  her  sudden 
supremacy  in  movieland.     "Holiday"  brought  her  such  great  acclaim  that 
the  producers  evidently  decided  she  shouldn't  have  any  time  off  at  all. 
Her  own  organization,  Pathe,  immediately  began  laying 
plans   for   her  to   do   "The   Greater   Love,"   with    Give 
Brook  and  her  husband,  Harry  Bannister,  in  the  other 
leading  roles,  while  Fox  insisted  on  borrowing  her  for 
"East  Lynne."     Then,  too,  she  may  soon  play  in  "Re- 
bound," possibly  going  abroad  to  film  some  of  the  scenes. 
In  "East  Lynne"  she  will  also  have  Brook  as  one  of  her 
leading  men,  Conrad  Nagel  being  the  other. 

Meanwhile  Ann  has  had  time  to  help  her  youngster. 
Jane,  celebrate  her  second  birthday,  and  has  completed 
the  child's  quarters  in  her  hilltop  home.  These  include  a 
modernistic  Mother  Goose  room,  a  bathroom  clone  in 
blue,  and  a  miniature  swimming  pool,  right  next  to  the 
larger  one  that  serves  for  father  and  mother  and  their 
sruests. 


Without  stage 
or  screen  expe- 
rience, Richard 
Cromwell  steps 
out  of  obscurity 
to  play  Tol'able 
David,  the  role 
made  famous  by 
Richard  Barth- 
elmess  in  si- 
lence. 


Wedding  Speeds  Career. 

Another  star  much  in  demand  right  now  is  Bebe 
Daniels.  Her  marriage  seems  to  have  added  stimulus  to 
her  career.  Certainly  the  desire  to  have  her  and  Ben 
Lyon  together  in  a  picture  had  much  to  do  with  the 
efforts  made  by  Warner  Brothers  to  engage  her  for 
"Ex-mistress." 

Ben  was  under  contract  for  the  leading  role  when 
Mary  Nolan  was  slated  to  play  it.  and  doubtless  the 
Brothers  Warner  saw  exploitation  possibilities  in  having 
the  two  together.  Evidently,  too.  RKO  was  quite  willing 
to  lend  their  star,  as  "Ex-mistress"  gives  promise  of 
being  a  popular  hit. 

Bebe  and  Ben  also  enjoyed  the  experience,  because  it 
provided  a  continuance  of  their  honeymoon.  The  com- 
pany was  on  location  most  of  the  time,  yachting  and  at 
Catalina  Island. 

From  "Ex-mistress"  Bebe  went  directly  into  the  pro- 
duction of  "Reaching  for  the  Moon,"  with  Douglas 
Fairbanks. 


Debacles  Are  Scarcer. 
Some  hopes  for  a  happier  Hollywood  may  be  drawn 
from  the  fact  that  the  divorce  courts  are  unusually  quiet 
of  late.  There  has  been  no  suit  involving  prominent 
couples  for  several  months.  Jean  Harlow,  leading  woman 
of  "Hell's  Angels,"  has  had  a  fracas  in  the  courts  over 


Hollywood   HigK    Lights 


31 


a  property  settlement  with  her  husband,  Charles  F.  McGrew  11.  and 
Peverell  Marley  and  Lina  Basquette  were  divorced  after  a  brief  legal  tilt, 
and  aside  from  these  cases  and  the  difficulties  between  Cliff  Edwards  and 
his  wife,  all  goes  more  calmly  than  in  several  years. 

The  Love   God's  Winnings. 

Fust  to  add  to  the  golden  outlook  several  couples  chose  the  fall,  or  late 
summer,  as  a  marital  time.    John  Garrick  was  married  to  Harriett  Bennett; 
Sammy  Cohen  to  Doris  Roach,  and  June  Clyde  announced  her  engagement 
rhornton  Freeland,  the  director. 

Anna  Q.'s   First   Party. 

Twenty-five  years  wed— that  will  be  the  record  of  Jimmy  and  Lucille 
next  year. 

fust  a  few  weeks  ago  they  celebrated  a  sort  of  preview  to  their  silver 
anniversary,  and  whenever  the  Gleasons  extend  invitations  folk  dock  to 
their  Beverly  Hills  home. 

The  guest  who  attracted  the  most  attention  was  Anna  O.  Nilsson.  It 
was  her  first  party  since  she  came  out  of  the  hospital.  She  wa-  carefully 
helped  from  her  automobile,  and  placed  in  a  chair  on  the  edge  of  the 
swimming  pool,  where  throughout  the  afternoon  she  greeted  and  conversed 
with  Iter  friends. 

Anna  looked  happier  and  better  than  we  have  seen  her  look   in   several 

She  is  anticipating  a  complete  return  to  health  very  soon,  and  will 

then  once  more  he  seen  on  the  screen.     The  bone-knitting  process,  following 

the  grafting  operation,  has  necessarily  been  slow,  but  Anna  i-  not  a  hit 

disheartened. 

One  oi  the  lovely  things  she  did.  quite  characteristic  of  her.  during  her 
in  the  hospital,  was  to  knit  tiny  layettes  for  new-horn  youngsters.     She 
remains  as  always  one  of  the  most  charming  and  whole- 
hearted personalities  of  pictures. 


« 


Meet  June  Walker! 

Tune  Walker  is  staying  on  for  another  picture.  She  is 
the  interesting  stage  actress  who  will  make  her  screen 
debut  as  the  lead  in   "War   Nurse."   with   Anita    Page, 

bert  Montgomery,  Robert  Ames,  and  others.  Miss 
Walker  sidered    one    of    the    cleverest    younger 

comediennes  of  the  footlights,  and  should  hring  a  wealth 
of  bright  talent  to  the  screen.  She  won  a  notable  triumph 
a  few  \-  demen  Prefer  Blond 

M.-G.-M.  has  an  option  on  her  services  for  a  second 
production,  and  may  thereafter  sign  her  on  a  permanent 
contract. 

Morris   Turns   Sheik. 

Approve  the  choice  >>r  not.  hut  there  is  a  probability 
that  Chester  Morri<  will  -tar  in  a  revival  of  "The  Sheik." 
Rudy  Valentino's  famous  hit  of  the  silent  days. 

Morris  has  ju-t  completed  "The  Bat  Whispers." 

Another  Landmark  Gone. 
One  way  or  another  the  old  landmark-  of  the  movies 
are  [  \  studio  once  occupied  by  Charlie  Chaplin, 

when  he  made  comedies  for  Essanay,  was  destroyed  by 
fire  a  few  week-  ago.  It  wa-  the  first  studio,  in  fact, 
that  he  used  in  Los  Angeles  after  he  became  a  -tar  on 
his  own.      He  made  his   burlesque  rmen"   there. 

in  which  he  played  the  role  of  Darn  ! 

Kerry  in   Comeback. 

-.  i-  not  sufficient.     There 
are  to  Ik-  two.  hut  tl  nd  will  glory  in  the  name  of 

"Ex-flame,"  which  fits  in  with  the  modem  "Ex"  idea. 

r  perhaps  it  will  prove  to  be 

j  produced   with    Marian    Nixon   in  the 

ling  feminint  ind  Neil  Hamilton  and  Norman 

the  other  princi; 
K-  rry   is  making  his   return   in  this   picture   after  an 

We  l..v  him 

since   "Annie    Laurie,"    though    he    ha-    play<  or 

twice  in  small  films  since  that. 


Chester  Morris 
is  all  ready  to 
star  in  "The 
Sheik,"  if  the 
producers  decide 
to  revive  the  pic- 
ture that  made  an 
idol  of  Rudolph 
Valentino. 


The  Passing  of  Milton  Sills. 

Will  it  he  the  "fatal  three"  again? 

This  familiar  question  was  being  a-ked  in  Hollywood 
when  the  shocking  news  of  Milton  Sills's  deatli  came 
within  three  weeks  of  the  passing  of  Lon  C'haney.  Two 
veterans  of  the  colony  in  such  a  short  space  of  time! 
Enough,  indeed,  to  revive  an  old  movieland  superstition. 

Sills's  career  was  hut  little  less  brilliant  at  certain 
periods  than  C'haney's,  though  he  achieved  his  SUO 
in  entirely  different  fashion.  IK'  wa-  best  known  for 
his  portrayal  of  vigorous  and  rugged  types,  his  earlier 
conquests  dating  from  the  time  of  "The  Honor  System," 
and  his  later  ones  from  "The  Sea  Hawk."  These  two 
pictures  constituted   the  mile-tone-  of   his   fame. 

Few  finer-spirited  men  have  ever  engaged  in  film 
acting  than  Sill-.  He  wa-  a  thorough  believer  in  the 
artistic  side  of  pictures,  and  was  for  man) 
garded  a-  the  chief  -poke-man  for  the  film  people.  He 
wa-  nearly  always  cho-en  to  represent  them  at  any 
public  gathering,  where  something  wa-  to  he  -aid  in 
behalf  of  the  mo- 

The  la-t  time  we  saw  Sill-  wa-  at  a  -mall  committee 
meeting  of  the  Academy  of  Motion  Picture  Art-  and 
.  at  which  he  presided.  He  looked  thinner  than 
usual,  hut  wa-  in  excellent  spirits.  He  had  just  finished 
"The  Sea  Wolf"  and  wa-  very  hopeful  about  what  the 
picture  would  mean  for  him.  This  wa-  only  a  f<  w 
'.>  before  hi-  death. 

The  memory  of  Sill-  will  he  cherished  by  the  fan-. 
because  hi-  many  good  performance  illy  in 


32 


o 


ne  in  a 


Milli 


ion 


Now  and  then  the  home-town  girl  gets  past  the  hard-boiled  doorman  and  slips  into  a  studio  to  visit  a 
player,   and    once    in,   she    carries   on    in    such   a   manner    that    from   then   on   the   gates   are   locked   and 

double   locked. 


B? 

Romney  Scott 


Illustrated    by 
L,  u  i    *-& ru go 


SAY,  'dja  ever  hear  the  story  of  the  girl  who  had  a 
friend  who  was  a  star  in  the  movies,  and  the  girl 
went  out  to  Hollywood,  telling  you.  "Just  wait'll 
Jennie  sees  me.     She'll  die!" 

Well,  Jennie  probably  died  all  right — but  not  from 
joy.  By  and  by  your  friend  comes  home,  and  nowadays 
when  Jennie's  name  comes  up,  she  doesn't  have  much 
to  say.  And  maybe  if  you  ask  her  if  she  saw  Jennie, 
she'll  tell  you  the  truth  and  say  no.  and  maybe  she'll  fib 
a  little  to  save  her  face,  as  the  Chinese  so  quaintly  put  it. 
Because  999,999  of  a  million  people  who  set  out  to  see 
friends  in  the  studios  never  get  to  them.  The  one  who 
docs  crash  the  gate  carries  on  in  such  a  manner  that  the 
other  999,999  can't  get  in. 

One  morning  I  was  on  my  way  over  to  the  RKO  lot 
to  see  Betty  Compson.  As  I  passed  through  the  outer 
office,  the  weather  eye  being  in  good  shape.  I  noticed  a 
strikingly  pretty  girl — still  speaking  of  shapes  and  one 
tiling  and  another — so  I  stopped  to  untie  and  tie  my  shoe 
string.  And  the  pretty  young  thing  was  having  quite  an 
argument  with  the  hard-boiled  doorman.  It  went  some- 
thing like  this : 

"I'd  like  to  see  Betty,  please.  I  just  can't  go  home 
without  seeing  Betty — Betty  Compson,  you  know." 

"No,  I  don't  know,"  said  the  h.-b.  d.  "Is  she  expect- 
ing you?" 

"Well-1-1,  no,  not  exactly.  But  we're  old  friends,  and 
I  just  know  she'd  be  glad  to  see  me." 

"Well,  I  can't  let  you  in,  unless  you  have  an  appoint- 
ment.    You'd  better  go  home  and'  write  her  a  letter." 

"Couldn't  you  phone  and  ask  her?"  persisted  the 
p.  y.  t. 

"No,  I  couldn't,"  snapped  the  grouchy  old  doorman. 

All  my  Southern  chivalry  rose  to  the  surface,  and  I 
was  on  the  point  of  offering  such  assistance  as  I  could 
render    when,    in    lifting 


my  hand  to  raise  my  hat, 
I  accidentally  bumped 
my  nose  which  was  still 
a  little  swollen  from  the 
last  time  I  put  my  oar  in 
where  it  wasn't  needed. 
So,  as  T  passed  in  alone. 
1  made  a  mental  note  to 
tell  Betty  about  the  visi- 
tor outside.  But  some- 
how when  Betty  smiles 
at  you,  and  looks  so 
bright  and  fresh  on  a 
.Monday  morning,  you 
forget  about  the  people 
outside — shapes     or     no 

shapes. 


The  gallant  Romney 
pulls  the  old  shoe-tying 
stunt  when  he  spies  a 
shapely  young  thing 
trying  to  talk  her  way 
past  the  doorman. 


And  a  tew  minutes  later  Glenn  Hunter  came  in.  And 
what  with  arguing  with  Betty  over  whether  Glenn  was 
better  in  "Clarence,"  or  "Merton  of  the  Movies,"  or 
"Young  YYocxlley,"  or  "Behold  This  Dreamer,"  or 
"Spring  Is  Here,"  or  the  dozen  and  one  other  plays  he 
has  starred  in,  I  completely  forgot  the  damsel  in  dis- 
tress outside. 

Well,  the  first  thing  you  know  Betty  is  called  to  the 
phone,  and  she  comes  back  dimpling  like  a  schoolgirl 
and  announces  that  Vivian  Phelps  is  coming  in  to  see 
her.  "Isn't  that  sweet  of  her  to  bother?"  Betty  asks 
us.  "She  won't  be  in  Hollywood  long,  and  imagine 
her  taking  time  to  find  me !" 

And  presently  Betty's  maid  returns  with  Vivian  in 
tow,  and  who  should  Vivian  turn  out  to  be  but  the  little 
girl  from  outside !  "How  did  you  finally  manage  to 
get  word  to  Betty,"  I  asked  when  the  introductions 
were   over. 

"Oh,  I  just  waited  until  I  saw  a  pretty  girl  with 
make-up  on  coming  out.  and  I  rushed  up  and  stopped 
her.  and  told  her  I  was  Betty's  cousin  and  would  she 
mind  getting  word  to  Betty  that  I  was  here,  and  she 
did.  I  can't  stay  but  a  few  minutes,"  she  added,  "as  I 
parked  my  car  in  front  of  a  fire  plug." 

"Who  was  the  girl  you  got  to  run  your  errands?" 
"I  think  she  said  her  name  is  June  Clyde.     Is  she  in 
pictures?" 

"I  believe  so.  She's  being  starred  shortly." 
About  twelve  thirty  Betty,  Glenn,  and  I  set  out  for 
Pearl  Eaton's  dressing  room,  where  we  had  been  asked 
for  lunch.  Although  Vivian  could  stay  only  a  few  min- 
utes and  had  already  been  with  us  for  half  an  hour,  she 
jogged  cheerfully  along,  chattering  like  a  magpie. 
"I  always  go  about  looking  for  the  stars,  and  T  never 
It's  the  funniest  thing!  And 
in  New.  York  it's  the  same 
way.  I  lived  there  two  years 
and  I  know  all  of  them  by 
sight.  Where  are  you  from, 
Mr.  Hunter?" 

"Oh,  I'm  one  of  the  Xew 
Y7ork  Hunters,"  Glenn  an- 
swered carelessly. 

"Really?  What  do  you  do 
in  New  York?"  went  on  the 
interlocutor. 

"Just  hang  around  the  the- 
ater a  little." 

"How  interesting.  I  won- 
der where  I  could  see  Richard 
Dix.  He's  my  favorite  actor, 
although  T  seldom  go  to  see 
his  pictures.     But  he's  just  the 


fail  to  recognize  them 


On 


e   in   a 


Mill 


ion 


:X* 


type   1  admire.     I'll  simply  die  if   1  don't   get   to   see 
him." 

I  by  this  time  we  were  in  Pearl's  dressing  room 
ami  Vivian  had  been  introduced  to  her  ami  to  Hugh 
Trevor. 

1  what  do  you  do.  ?.  ton?"  bubbled  Vivian, 

determined  to  he  friendly  with  every  one. 

"Nothing  much,"  said  Pearl,  wl  premiere  dan- 

.rs  with  the  Ziegfeld  "Follies."  "In 
my  spare  time  1  stage  dances  for  the  musical  numbers 
here  on  the  I 

"11  murmured   Vivian. 

Hugh  started  into  the  next  room  for  some  lemonade. 
He  had  his  make-up  on  and  as  he  went  out.  Vivian 
asked  in  .  "Is  he  a  celebrity?" 

gh,  without  pausing,  "just  a  young 

\\  had  hi  red,  Vivian  resumed  with 

1  seem  to  be  monopolizing  the  conversation,  hut 

that  the  Mars  are  just  like  anybody 

.  if  you'll  just  let  them  see  that  you  aren't  awed  by 

them,  and  are  perfectly  willing  to  meet  them  on   their 

•ting  and  he  — oh.  1  forgot  all  about 

my   car!      It's   still    parked    in    front    of   the    fire    plug! 

Would  one  1  move  it  for  me? 

"I  v.  tetty,"  she  continued,  without  wait- 

for  an  answer.  "I  think  she  ought  to  come  up  to 

S]    ikane  and   visit   me.      It   would   do   her   a   world   ot 

1  just  to  get  up  there  and  relax.     And  if  some  of 

the  •  \ou  would  like  to  come,  you  could.     I  have 

five  ms  anil  my  husband  and  I  still  occupy  the 

same  room — tee-heel — so  that  leaves  four.     He's  always 

joking,  too.     He  said  he  wanted. a  vacation,  so  he  sent 

me  down  here  on  this  lovely  trip.     What  am  I  going  to 

do  about   Richard   Dix?"   she   went   on,   addressing   the 

crowd  at  large.     "I  just  can't  go  hack  without  meeting 

him.     Couldn't  you  phone  and  ask  him  to  come  here?" 

"I'm  afraid  he  isn't  working. to-day,"   Betty  soothed 

her.  "so  he  isn't  at  the  studi 

"Well,  couldn't  one  of  these  gentlemen  phone  and 
ask  him  to  come  to  our  little  party?  Wouldn't  you  do 
that  for  me.  Mr.  Martin?"  she  went  on,  addressing  Mr. 
Hunter. 

"I'm  sorry,  hut  I  haven't  met  Mr.  Dix,"  said  Glenn. 
"Tclih.  tchh,  tchh."  Vivian-  reproved  him.     "At  home 
I  do  nothing  but  the  movies.     We  have  five  the- 

aters and  I  go  to  all  of  them  every  week.  But  I  seldom 
pay  any  attention  to  the  story.  /  criticize  the  clothes.  I 
think  they  ought  to  have  some  one  out  here  to  tell  the 
girls  what  to  weai.  Now  some  of  the  things  Norma 
Shearer  wears  are  all  right,  hut  Norma  Talmadge  always 
looks  as  if  she  had  a  Christmas  tree  hung  on  her. 
it'll  notice  how  simply  /  dress 

"There  might  he  an  opening  for  you  out  here."   said 
Glenn  very  gravely.     "I  understand  the  Will  Hays  office 
':     to     employ     Howard 
fashion   supervi- 
but  a  couple  of  women 
wrote  in  makii  same 

complaint  as  you.   so  they 
had    to    let    him    go. 
might  get  his  job." 

"W  iu     take     me 

'it  up  there.'"  Vivian 
:.did     breathlessly.      "I 
think."  she  went  on.  warm- 
that  Mr. 
<  irei  r  oughl  :•>  be 

Probably  all  he 
was    interested    in 

sx   he     •  ting,  and 

selling    go.'  his 


Young  girls  who  have  spent  a  week-end  in  Hollywood  are 

likely    to    go    into    exclamatory    reminiscence!    when    they 

attend  the  movies. 

own  shop.    And  he  oughl  to  have  sense  enough  to  know 

that  a  French  frock  doesn't  tit  into  a  set  laid  in  New 
York,  or  some  other  American  city.  He  ought  to  see 
the  pictures  first,  and  get  an  idea  what  they're  all  about, 
and  then  design  the  clothes. 

"Mom  of  the  -iris  in  pictures,  like  Alice  White,  and 
Joan  Crawford,  and  l.ilyan  Tashman,  came  from  humble 
beginnings,  and  they  can't  he  expected  to  know  what  s 
what.  I'm  sure  that  if  some  one  with  the  proper  back- 
ground was  willing  to  work  with  them  and  teach  them 
tin'  right  thing  to  wear,  they'd  appreciate  it." 

••I'm  sure  they  would."  I  enthusiastically  agreed,  re- 
membering what  a  merry  little  hell  Joan  Crawford 
raised  once  when  the  head  of  the  wardrobe  department 
insisted  upon  her  wearing  a  gown  he  had  selected,  in 
preference  to  one  she  had  picked  out  for  herself. 

"Why,  with  Betty's  gorgeous  figure."  Vivian  raved 
on.  "there's  hardly  anything  she  couldn't  wear!" 

"Oh.  do  you  like  her  figure:'"  Glenn  asked,  giving 
Bettv  a  wink.  "I  thought  she  looked  pretty  sloppy 
lately.  You  know  she  almost  lost  a  part  in  one  picture 
because  she  was  too  thin.  They  just  had  to  throw  the 
clothes  on  h( 

"Really?  Well.  I  feel  better  now.  At  home  they're 
alwavs  telling  me  that  I'm  too  thin  and  that  a  person 
who  weighs  less  than  120  pounds  looks  undernourished, 
r  weigh  just  120,"  she  added  modestly.  "I  wonder  what 
I'm  going  to  do  about  my  car.     I  haven't  moved  it  y< 

Mr.  Hobart,  who  is  the  head  of  supervisors  at  RK<  >. 
came  in.  "Possibly  Mr.  Hobart  would  move  it  for  you." 
I  suggested   sarcastically. 

But  the  sarcasm  was  wasted,  for  Vivian  breezed  right 
up  to  Mr.  Hobart.  "Mr.  Hoble,  I  parked  my  car  in 
front  of  a  fire  plug  when  I  came  in.  Would  you  move  it 
for  mi-:-  I  left  the  key  in  the  lock,  s,,  if  a  fire  did  break 
out.  they  wouldn't  have  any  trouble  getting  it  out  of 
the  wa\ ."  ..   . 

Mr.  Hobart  stared  at  her  in  glassy  silence,  hut    \  lvian 
misinterpreted    his    silence.      "And    if    you    run    aci 
Richard  Din.  please  drag  him  in  here.     And  if  you  can't 
find  him.   will   VOU    find   out    where  he   is.  and    I'll   make 

one    of    these    hoys    take 


The  little  home-towner  blithely  sends  the 
big  director  out  to  park  her  car. 


me  to  see  him. 

"And  speaking  of 
Betty's  figure,"  she  went 
on.  after  Mr.  Hobart 
had  safely  fainted  away, 
"she  used  to  have  the 
loveliest  hair.  A  soft 
chestnut  brown.  I  won- 
der why  she  dyed  it  '" 

"That's  a  wig  she  has 
on."  Glenn  explained.  "I 
saw  her  put  it  on  this 
morning." 

"And  /  think."  Vivian 
continued,  a.-  though 

1 17 


31 


Another  Th 


CK 


T 


Our    Manhattan   explorer   discovers   Carol   Lombard,    another   beauty  who   is    on   her   way   up,    equipped 

fully  with  all   that  it  takes. 


By  Malcolm  H.  Oettinger 


A    PUBLICITY    office  at   best   is  no    fairy   bower. 
Even  when  it  is  coolly  situated  in  the  white  turret 
of  the  studio  with  windows  facing  north  and  east, 
automatic  typewriters,  built-in  office  boys  and  decorative 
secretaries,  a  publicity  office  is  a  trifle  drab. 

Yet  when  Carol  Lombard  climbed  in  the  fourth  floor 
window  with  a  cheery  "Hello!"  the  spot  blossomed  into 
a  place  of  charm  and  enchantment. 

She  should  be  seen  to  he  appreciated,  and  once  seen. 
never  forgotten.  A  Hollywood  graduate  with  more  than 
the  ufiual  honors,  Carol  has  progressed  from  comedy 
falls  at  Sennett's  seraglio  of  slapstick  to  the  Motion 
Picture  Academy  kisses  of  Warner  Baxter,  no  less.  Still 
in  the  low  twenties,  she  faces  a  future  Idled  witli  what 
people  like  to  term  promise. 

Lombard  is  slim  and  shapely  and  her  hair  taffy-yellow. 
Her  mouth  is  full,  her  eyes  amused  in  a  tolerant  way. 
She  has  crowded  a  lot  into  her  brief  span,  I  should  guess. 
She  is  sophisticated  but  net  bored,  wise  hut 
not  bitter.  She  has  heard  all  the  questions 
a  beautiful  woman  hears,  and  she  knows  the 
answers.  Hollywood,  she  says,  is  a  delight- 
ful spot  for  a  person  with  a  sense  of  humor. 
She  should  be  happy  there. 

In  the  first  place  some  misguided  soul 
christened  her  Carol  Lombard,  which  isn't 
her  name  at  all. 

Jane  Peters  was  visiting  in  Los  Angeles 
when  a  picture  director  saw  her  and   said. 
"My  dear,  come  round  to  the  studio  for  a 
test  at  three  to-morrow,"  meaning  no  harm 
whatsoever.      That   is    what   makes   this   an 
amazing  story.     She  was  not  forced 
to  sacrifice  all  in  order  to  get  her 
big    chance.      Half    an    hour    after 
the  test  had  been  screened  before  a 
small  but  pompous  group  of  high- 
pressure     studio     executives,     Jane 
Peters  had  been  signed  to  play  op- 
posite Edmund  Lowe,  in  a  Fox  pic- 
ture called   "Marriage  in   Transit." 
That's  how  hard  it  is  to  break  into 
pictures,  but  don't  try  it. 

"Your  name,"  the  executives  told 
Jane,    "is    too    plain.      Jane    Peters 
hasn't  any  'box   office'   in   it.     But 
we'll   fix  that."     And  of  course  they 
Supervisors  have  been   fixing  things, 
manently,    in    the    cinema    industry, 
since  Cecil  DeMille  launched  the  fust 
tuh.     They  decided  to  call  her  Carol 


Carol  Lombard  has  heard 
all  the  questions  a  beauty 
hears,   and  knows   the   an- 
swers. 

■ 


V 


did. 
per- 
ever 
bath- 
after 


the  sparrows  and  thrushes,  and  Lombard 
for  the  Lombardy  poplars,  hoping  this 
wotdd  make  her  pop'lar  with  the  public, 
supervisor,  that  was  a  fair  pun. 
Carol  Lombard  she  was.  She  didn't  care 
for  the  label,  but  who  was  she  to  say  no? 
At  that  (arly  stage  of  the  game,  before 
even  a  crank  had  been  turned,  remonstrance 
was  out  of  order.  And  at  sixteen  one 
doesn't  demur  at  the  names  one  is  called 
when  a  leading  role  goes  with  it. 


^^ 


"I  was  pretty  terrible  in  the  picture,"  Carol  said.  "I 
rather  expected  I  would  he.  having  had  no  experience  in 
pictures  and  no  stage  training.  Besides  I  was  pleasingly 
plump  and  that  was  no  advantage,  either. 

"So  when  the  picture  was  finished,  I  left  Fox  to  apply 
for  work  at  Mack  Sennett's.  the  school  of  hard  knocks. 
There  I  started  working  up  from  the  bottom." 

Then  Carol  told  me  what  other  Sennett  graduates  have 
told  me— that  comedy  under  the  Gaelic  master  is  the 
best  schooling  for  getting  camerawise,  for  spacing  a 
movement,  for  timing  a  laugh.  When  one  considers  that 
Gloria  Swanson,  Bebe  Daniels,  Wallace  Beery,  Raymond 
Griffith,  Betty  Compson,  and  Chester  Conklin  all  came 
From  the  pie-slinging  lots,  the  truth  of  the  assertion  is 
apparent. 

"Sennett's  was  the  most  delightful  madhouse  imagin- 
ahle."  said  Carol  enthusiastically.  "Life  was  one  fall 
after  another.  There  was  a  lusty,  rowdy  spirit  of  free- 
dom there  that  I've  never  encountered 
anywhere  else.  I  recommend  it.  It  ex- 
posed the  sham  of  pretension,  it  ex- 
ploded the  petty  hypocrisies  of  people  in 
high  places,  it  flung  pies  at  false  dignity. 
What's  more,  Sennett's  develops  the 
sense  of  humor,  toughens  the  constitu- 
tion, nurtures  ambition,  and  teaches  you 
the  game  as  it  should  be  played.  Two 
years  there  gave  me  a  thorough  ground- 
ing. I  left  fully  prepared  to  face  the 
world." 

Pathe  had  seen  her  in  a  full-length 
Sennett  called  "The  Girl  from  No- 
where." Impressed,  Pathe  signed  her. 
In  a  year  the  blond  Lombard  played  in 
half  a  dozen  features  with  Alan' Hale, 
William  Boyd,  and  other  Pathe  lumi- 
naries. 

Every  year  a  dozen  or  more  beauties 
from  the  short-comedy  field  apprentice 
themselves  to  DeMille  or  Fox  or  Metro, 
pose  for  publicity  stills,  and  awake  in 
the  cold  gray  dawn  to  find  their  options 
lapsed.  Carol  Lombard  fared  better. 
Her  year  with  Pathe  introduced  her  to 
a  wide  public,  and  incidentally  estab- 
lished her  in  the  minds  of  producers. 

When  Fox  told  Alfred  Santell  to  do  a 
sequel  to  "In  Old  Arizona"  he  seized 
upon  Lombard  for  the  interesting  role 
of  the  adventuress. 

"We  went  bye-bye  for  eight  weeks," 
said  Carol.  "In  the  desert  for  two 
months,  living  in  tents.  Dandy.  Then 
we  saw  the  picture !  It  could  have  been 
made  in  a  week  in  somebody's  backward. 
But  it's  making  money  and  that's  the 
answer." 

Free-lancing  along.  Lombard  next  vis- 
ited the  Paramount  lot  to  do  an  excellent 
assignment    opposite     Charles    Rogers. 
Those  who  saw   "Safety   in   Numbers" 
Continued  on  page   114. 


I 


fV-*'     -T    lt*r-  ir    7x-r----' 


ON'  the  cretl  of  success,  Carol  Lombard  recalli  buiuoronriy 
and  appreciatively  her  "pa-t,"  meaning  her  arduous  training 
in  slapstick  for  two  years  and.  the  falls  and  hard  knocks  that 
made  her  what  she  is  to-day,  says  Malcolm  H.  Oettirtger,  Opp 


36 


ALL  of  a  sudden  Barbara  Stanwyck  has  become  not  only  a  gen- 
eral favorite,  but  a  pet  of  Picture  Play's  army  of  fans.  And 
that  means  they  will  fight  for  her,  because  she  gave  them  "Ladies 
of   leisure."     Her  next,  "Roseland." 


Photo  by  Wiiilam  A.  Frakei 


37 


S}    (>•[-    It>ir 


\\/HK\  you  saw  "Anybody*!  Woman"  you  kdmired  the  lN.-au.ty 

*''  arvl  distinction  of  Juliette  (  onipton,  U  tin  i\  wife,  an«l 
regretted  when  the  role  ended  That  i-  <oiii|Kiisation  in  this  mail 
world,  though,  as  you  shall  tee  when  the  .i|i|H.irs  m  "New  Morals" 


38 


Photo  by  Irving  ChidnofT 


REX  BELL  became  famous,  and  Harry  Richman  hot  and  both- 
ered, when  Clara  Bow  proclaimed  him  her  new  boy  friend  and 
displayed  his  photo  inscribed,  "To  my  little  pumpkin,  from  Rex." 
Well,  Rexie  will  show  BOOM  of  the  reasons  in  "To-night  and  You." 


J 


PboM  bf  Irrlac  rtlifcMff 


EVERY  "tie  who  knows  Ilka  Chase  says  that  slu-  is  004  only  | 
new  note  in  the  Hollywood  lymphooy,  bai  oac  <>i  tin-  grand)  rt 
girls  living-  You  see,  she's  civilized  without  tdvertuini  her 
tophilticatioo,   and   funny    withOUl    Ik.-mik   a   cut  -up 


40 


fhoto  by  Hurrell 


A  MOP  of  blue-black  hair,  twinkling  eyes  and  a  gurgling  accent 
— there  you  have  Kin  Dorsay,  who  adds  enough  of  that  je  nc 
sais  quoi  to  make  her  unlike  anybody  else.  You'll  see  it  all  in 
"Tbo.se  Three  French  Girls." 


i 


II 


\*^*j  -.    'y    |  .  H  •  : 


THE  darling  of  the  gods  ami  of  every  one   wlio  has  a  heart,  a 
sense  of  humor  and  love  for  humanity     our  own   Marie 

FOf   it   is  these  imahtics  within  her   that    MUOd   a  i  all   no  OOC 
can  r< 


42 


£f£ 


r 


A  VAGABOND,  a  drifter,  the  despair  of  his  home-loving 
**  parents.  Such  was  Richard  Arlen  before  chance  brought  him 
to  Hollywood,  and  even  afterward.  On  the  opposite  page  a  friend 
traces,  accurately  and  sympathetically,  his  amazing  history  and 
splendid  reformation. 


Photo  by  Otto  Djar 


L 


Waster,  Drifter — 
Then  Star 

Richard   Aden  came   to   Hollywood   with   no   future 

and    he    didn't    care    particularly    for   one.      How   he 

got   a   grip   on   himself   and    found   success   is   what 

you   want    to   know. 

By  Ann   Silvester 

HOLLYWOOD'S  habit  oi  transforming  people 
takes  curious  turns  sometimes.  It  can.  and  has, 
made  skeptics  of  believers,  practical  men  of  dream- 
show-offs  of  the  reticent,  and  grooves  for  the  individ- 
ualists. All  in  all.  it -^  influence  is  a  little  disillusioning,  as 
a  rule.  But  like  every  other  rule,  it  has  its  exception. 
Perhaps  two  or  three  of  them.  Once  in  a  while,  in  a 
capricious  mood,  it  builds  where  it  might  destroy,  and 
ideals  to  the  scoffer  in  spite  of  himself.'  Not 
often — not  to  be  expected,  hut  just  in  rare  instances.  For 
example,  Dick  Arlen,  who  was  horn  Richard  van  Mat- 
timore. 

►f  all  the  -  if  Hollywood  remodeling,  his  is  the 

-:  curious  and  reversed. 

In  the  first  place,  he  came  to  Hollywood  as  hitter  and 
cynical  a  man  as  I  have  been  pleased  to  know,      lie  was 
young,  and  fate  had  seen  lit  to  strip  him  of  most  of  his 
illusions   before   he   ever   reached 
Hollywood.     Because  there  is  no 
disillusionment   as   hitter  as  that 
extreme    youth,    he    believed 
lendously    in    nothing.      Not 
even  himself. 

Before  he  was  twenty-one  he 
had  been  a  husband,  father  of  a  little  girl,  and  a  divorced 
man.     He  had  also  been  a  drifter,  a  r<  eker  after 

something  he  could  not  find.     His   family  of  conserva- 
tive, home-loving  people  had  given  up  trying  to  under- 
stand this  moody  offspring  of  theirs      He  was  tl. 
one.  the  deep  one. 

Most  of  the  time  they  did  not  know  in  what  part  of 
the  country  he  was.  Now  and  then  he  would  drift  back 
to  them — as  unhappy  as  ever.     As  restk 

His  first  marriage  was  a  mistake.  With  his  type  and 
mperament.  he  was  the  last  pcrs,.n  in  the  world 
to  attempt  the  kind  of  matrimony  he  did.  The  settling- 
down  kind — raising  a  family.  The  kind  of  matrimony 
that  goes  for  you  and  me  and  the  bookkeeper  at  the  bank 
and  the  girl  next  door.  It  is  possible  to  imagine  him 
setting  forth  on  a  vagabond  honeymoon  with  a  girl  of 
tremendou  like   himself;  but    not 

a  domestic  honeymoon,  with  the  memory  of  a  bottle  of 
cream  to  be  brought  home  for  dinner  that  night.  It 
failed,  just  as  it  med  to  fail.     Nobody's  fault. 

particularly.  Not  Dick's. 

attempted  was  a  failure.     The  same 
that  drove  him   from  town  to  town,  drove 
him  from  job  I  He  drifted  along  from  office  jobs 

to  laborer   in  oil  luring   his    varied    ex- 

he  mad  •  was 

•.here   in  lahoma.      Hi  ;t    in- 

sanely.    It  did  him  more  harm  tl  •  the  trail 

travagance  accidentally  led  him  I  >rnia  and 

much. 
;r-<t  he  had  no  t'  ing  into  pictures — not 

while  his  mo:  >  indolently  pleas- 


■■■ 


For  years  Richard 
Arlen  lived  a  vaga- 
bond's life,  the  despair 
of  his  home-loving 
parents. 


Photo  by    H. 

ant  fof  him  to  think  of  work.  They  began  at  noon  and 
lasted  until  the  small  hours  of  the  morning  in  a  round 
of  self-indulgence. 

A  house  he  had  rented  was  the  rendezvous  of  a  gang 
of  movie  fellows,  who  worked  as  extras  by  day  and  a- 
spongers  at  night.  They  were  always  sure  of  a  free 
meal,  and  a  good  one.  at  Van's.  Most  of  them  lasted 
as  pals  as  long  as  the  money  held  out.  Winn  suddenly 
and  unexpectedly  lie  found  himself  broke,  he.  too.  drifted 
into  extra  work. 

Such  was  Dick's  background  and  mental  attitude  at 
the  beginning  of  his  career. 

He  was  quite  untroubled  by  ambition — at  first.  He 
was  by  no  means  the  first  extra  to  arrive  on  the  set — 
hut  invariably  he  was  the  first  to  leave.  While  the  male 
star  was  going  through  a  technique  that  might  hive 
offered  pertinent  tips  to  any  extra  who  eared  to  watch, 
Dick  would  be  calmly  asleep  in  a  corner,  or  wisecracking 
with  the  gang  outside  the  set.  lie  did  what  he  was  told 
Xo  more,  no  l< 

•  he  was  picked  for  a  bit  in  a  picture  starring  Bebe 
Danieb.  He  played  it  so  badly,  so  irritatingly,  that  the 
director   tlew    into  a   1  "You're  a   lousy   actor."   he 

yelled.     Whereupon  Dick  muttered  something  under  his 
breath    and    kicked    his    beautiful    costume    toward    the 
of  the  director.      Dick's  admiration   for   Bebe   Dan- 
dated    from   then.      She   ran   after   him.      "Don't    be 
discoun  c  told  him.  "you'll  do  better  next   time. 

It's  hard  at  first."    Suddenly  Ik-  wished  very  much  that 
i  hance  in  a  B<  be  I  laniels  pi<  ture 
fluttering  of  ambition  it 
heretofore  indifferent  man.  tied  on  pag<   1U| 


11 


J*iJS^  4F? 


OXCE  in  a  blue  moon,  or  maybe  not  quite  that  often, 
according  to  reports  that  reach  us,  some  one  in  the  mov- 
ies gets  a  chance  to  do  what  he  really  wants.  And  so  well 
has  Ramon  Novarro  done  many  things  he  didn't  want  to  do 
that,  as  a  reward  of  merit,  Mctro-Goldwyn  is  permitting  him 
to  direct  the  Spanish  version  of  "Call  of  the  Flesh"  besides, 
of  course,  playing  the  leading  role  in  it.  You  see  him,  above, 
in  unc  of  those  rare  moments  when  he  is  able  to  get  entirely 
away  from  the  studio  and  it<  cares  to  become  himself — the 
Ramon  so  many  dream  about,  but  whom  so  few  really  know. 


MS 


The  Big  Goat-getter  from  Boston 

Charles    Bickford    fairly    bellows    his    opinions    of     Hollywood    and    movies — moronic    movies,    he    calls 

them — and  film  people  scuttle  to  cover  to  protect  sensitive  toes  when  he  lets  k°-  Ior  h«  *p«r«  nobody 

from  producer  to  extra. 

B>>   Myrtle   Gebhart 

HE  was  Greta  Garbo's  school-days  sweetheart.     He  was 
born   in    the    South    Seas,    knew    SadU    Thompson,    and 
ew  up  on  a  ship.     He  mined  for  gold  in  the  W 
■armed  in  Rhodesia,  and  fought  in  a  South  American  fracas. 

That   is.  Charles   Bickford   said   he  did.     And    Hollywood. 
naive  11  I,  was   just  too  thrilled,  my  deal 

His  conceit  as  Homeric  as  his  bulk,  he  tongue-lashes  the 
movie   people  and   makes   'em   like   it.      Petty    rule-    are    swept 
with  powerful  strokes  of  sarcasm.    "Dynamite,"  they  call 
him.  not  only  in  remembrance  o\  his  tir-t  picture,  but  because 
that  way.     A  chance  comment  serve-  to  ignite  the  spark. 
He  finds  fault  with  stories.     He  likens  Hollywood  t  >  "a  per- 
petual close-up.  mugging  its  daily  dozen  of  expressions."     He 
:'   the  men  who  make  movies  of   infantile   in- 
telligence, and  art  a  commodity  foreign  to  this  gigantic  factory 
where  amusement  is  canned.     He  ruffles  their  vanity,  ne 
tating  extra  yes-men  to  restore  it. 

When  executives  saw  that  his  superb  eon-      -Don't    call    me 
oded   upon   ability,  they  he-      a  stubborn  art- 
alarmed,  though  his  weekly  walkout  al-      ist;  but  I  won't 
ways  ends  in  a  stroll  around  the  block.     The      double-cross  my 
man  actually  can  act.  as  well  as  orate.     Most      convictions." 
:r  oral   radical-  can*t.  as  you   may  have       says   B»ckford. 
rved.      He    thrashes    through    hi< 
drama,    sha  with    quirks    of    humor, 

th    an    apparently    unwilling 
tenderness — a  rare  art.  that. 

his    vitriolic    opinions,    delivered 
all  the  delicacy  of  Vesuvius  erupting  a 
rning  greeting,  are : 

ike  artistic  films  because 
:i   the  theatef  and   its  al- 
^rts.  and  shops  and 

ndhand 

n.  the  :  The- 

atrical produc.-rs  are  heavy  brain-  compared 
lovie  men" — though  hi-  did  find  it  i 
■  to  argue  principles  with  them. 
Pie  claims  a  major  share  edit   for 

He  derides  "Dynan 
kum.     Yes.  it  would  Ik.-  pos- 
I  to  make  a  mi-take.     "It  v. 
Matt  Bu\ 

He  did 
vant  th(  cramped 

woman  -tar.     That  he 
•     •' 
he  and  '  t !  He 

re  fusil 

"I'm  not  finick  caj| 

He  I 

hich  has  the  lu< 
th<  -  all  in  :'.  point — 

la"''  at 

d  troubl 


rn-ll 

Mr.  Bickford  modestly  claims  a  major  share 
of  the  credit  for  his  good  films. 

The  public,  struck  by  his  smashing 
ality,  Steps  dizzily  back  for  more.      H< 

if  he  likes,  just  so  he  >-tiek-  around. 
Hi-,    vitality    stand-    out    like   a    Wai 
billboard.     I  li-  personality 
-  idrth.     He  dominate-,  even  in  a 
<k   of    red    hair,   tan- 
gled over  a  1;  d,  fall-  into  a  i 
frame   for  clear  blue  Hi-   red 
'  bv  wrinkle-  of  humor. 


46 


The  Big  Goat-getter  from  Boston 


Photo  by 
Louise 


Charles  Bickford  learned  to  act  in  the  rawest  school,  majoring  in  roughneck  characterizations. 


A  divil  a  bit  of  a  brogue  has  he,  excepting  when  it's 
good  business.  He  can  get  stuck  in  the  verbal  peat  with 
the  best  of  the  thick-tongued  blarney  boys ;  or  he  can 
converse  with  all  the  didactic  precision  of  a  Boston 
schoolmaster.  As  he  lunches  with  the  youthful  gang  in 
the  commissary,  in  preference  to  the  more  secluded 
Stellar  balcony,  we  have  engaged  in  several  tilts.  His 
spontaneous  humor  peppers  the  conversation  with  a 
steady  stream  of  chuckles.  I  armor  myself  with  a  bar- 
ricade of  mockery,  disbelieving  every  utterance  on  gen- 
eral principles. 

Only  once  did  T  succeed  in  drawing  his  anger.  I  re- 
marked that  he  had  hooked  onto  the  stage  caravan 
aming  Westward  at  the  smell  of  caviar.  He  flushed 
a  shade  that  paled  even  his  hair  and  spat  back  between 
his  teeth  :  "For  five  years  the  moronic  movies  made  over- 
tures to  me.  I  was  not  concerned,  thinking  the  screen 
weak  as  an  art  form.  The  talkies,  however,  offer  a 
wider  field.  They  picture  life  with  more  realism.  So  I 
agreed— 1  consented.     Understand?" 

"Why."  T  once  inquired  blandly,  "were  you  acting 
with  Lenore  Ulric,  if  you  were  Greta's  childhood  hero?" 

"Oh,  didn't  you  know?"  His  eyes  pitied  my  igno- 
rance.    "I  Trie  is  our  child." 

The  seriousness  of  some  lady  reporters  afforded  him 
such  amusement  that  he  decided  to  be  generous  with  his 
in  formation.  lie  invented  and  guilelessly  confided  a  new 
tale  for  each.  Soon  he  was  involved  in  strange  head- 
lines, keeping  the  publicity  department  in  a  chaotic  state 
making  explanations  and  smoothing  ruffled  leathers.  He 
will  regret  that  these  facts  of  his  life  story  must  rip  away 
much  of  that   colorful  embroidery. 

Charles  Ambrose  Bickford  is  the  son  of  a  retired 
coffee  importer.  Bom  in  Cambridge,  he  got  out  at  an 
early  age.  fearful  of  the  atmospheric  influences.  But  he 
was  not  to  escape  schooling.  They  have  them  in  Somcr- 
ville,  too.  also  in  Everett,  where  later  they  lived.  He  had 
to  -train  a  few  mental  ligaments  at  Massachusetts  Tech. 
Oddly,  he  wasn't  interested  in  routine  athletics,  though 
he  sparred   some    fasl   ones  with  his  brother  Tom.      His 


first  job  was  mere  exercise.  He  was  a  piano  mover. 
An  uncle,  an  official  of  the  street-car  company,  then 
put  him  to  work.  But  things  happened.  As  his  car 
tore  down  Broadway,  in  Somerville,  a  truck  appeared, 
usurping  the  track.  After  clanging  his  bell,  Charlie  re- 
moved the  truck  from  his  right  of  way ;  next  he  removed 
the  driver  from  his  line  of  vision,  and  proceeded. 

His  stage  bow  was  made  in  his  teens,  in  a  hick  role 
with  another  uncle  who  was  presenting  a  sketch  at  an 
Everett  theater.  His  mother  approved.  She  believed  in 
his  ability,  though  some  years  intervened  before  he 
proved  it.  The  rest  of  the  family  remained  tactfully 
silent. 

Why  did  he  saunter  away  from  home,  with  sails  set, 
to  see  the  world  ?  Because,  he  replied,  he  met  a  widow. 
Did  he,  I  asked  solemnly,  make  her  a  widow?  No,  she 
was  one  already. 

As  a  matter  of  fact,  he  moved  on  because  he  thought 
school  a  waste  of  time  and  the  sea  more  exciting.  Be- 
sides a  seafaring  hitch  in  Uncle  Sam's  pay,  Charlie  has 
scrubbed  the  decks  of  vessels  ranging  from  yawls  to 
yachts,  from  whalers  to  traders.  Once  he  journeyed  to 
the  Emerald  Isle  of  his  ancestors'  birth.  He  likes  to  talk 
of  those  Irish  forbears  who  were  rebels  and  fought  un- 
der the  motto,  "Truth  on  our  lips,  virtue  in  our  hearts, 
strength  in  our  arms."  One  of  them,  he  boasts,  was 
hanged  for  smuggling. 

Between  wanderlust  spells,  he  concentrated  on  higher 
math  and  physics  and  managed  to  become  a  construc- 
tion engineer. 

He  was  dared  into  acting  as  a  profession.  As  well 
wave  a  red  flag  before  a  bull  as  to  question  the  Bickford 
ability.  An  actor  from  a  burlesque  show,  with  whom  he 
had  become  fraternal  in  a  San  Francisco  water-front 
saloon,  boasted  a  fivc-dollars-an-evening  salary  and  de- 
rided Charlie's  possibilities  as  a  mime.  He  was  treated 
to  a  fine  exhibition  of  temperament,  enjoyment  of  which 
was  mitigated  by  a  bump  that  grew  on  his  head. 

The  big  boy  squared  front,  headed  for  the  theater, 
Continued  on  page  114 


17 


A  Little  Girl's  Big  Bluff 

A  ashet  in  Grauman's  Theater,  Raquel  Torres  watched  the  stars  before  seeking  work  in  the  studios, 

and  all  to  good  purpose,  for  her  start  in  films  was  as   sudden  and  unusual  as  you'll  find  in  a  Hollywood 


By   Dorothy   Wooldridge 

HER  mother,  she  is  told,  was  beautiful — 
halt    French,  half  Spanish.      She  died 
when  her  youngest  child  was  a  year  and 
cloven  months  of  age,  and  the  girl  we  know  a^ 
Raquel  Torres  was  too  young  to  remember  her. 
idy  Raquel  sometimes  recalls  an  oval  face 
in   which  are  set  eves   large,  and   tender,   and 
soft.     But  the  vision  vanishes  before  its  fea- 
-  are  clearly  revealed — fades  into  nowhere, 
just  as  dreams  fade,  leaving  barely  a  memory. 
Still  Raquel  believes  that  the  apparition  is  that 
the  beautiful  woman  who  gave  her  birth. 
Raquel's   father  was  a  German   mining  en- 
gineer who  married  her  mother  in  Herm< 
Sonora.  Mexico.     Before  he  died  he  used  to 
tell  her  from  his  bed.  where  he  long  lay   ill. 
about  the  goodness  and  tenderness  and  sweet- 
of  the  senorita  he  married   in   that   hot- 
blooded  republic  of  the  South.     But  he  had  no 
pictures  or  little  keepsakes  from  that  "land  of 
long  ago,"  because  all  had  burned  when  their 
home  caught  fire. 

In  the  living  room  of  her  cottage  at  Malibu 
Beach,  little  Raquel  Torres  talked  to  me  about 
the  days  she  would  like  to  remember.  She  told 
me  what  she  believed  her  mother  was  like.  And 
she  told  how  she  wanted  her.  now  that  she  and 
her  brother  and  two  re  orphaned  and 

on  their  own.     She  revealed,  too.  incider.' 
the  courageous  fight  she  made  for  recognition 
in  Hollywood. 

"I  just  had  to  make  a  name  and  earn  some 
money,"  she  said,  "and  I  buckled  down  to  it. 
Ow!  what  I  deed  not  d 

Raquel  was  Billy  von  Osterman — a  name 
impossible  for  the  screen — when  she  arrived  in 
Hollywood  to  besiege  the  studios.  Restlc». 
irrepressible,  confident,  in  her  blood  was  the 
passion  of  the  Spaniard,  the  volatility  of  the 
French,  and  the  tenacity  of  the  Teuton.  Her 
eyes  are  brown — a  deep  brown  which  some- 
times bor  black.  Slender.  full-ch- 
graceful,  she  attracted  attention  wherever  she 
went. 

The  little  Mexican  took  the  first  job  offered 
her.  a  job  as  usher  at  Grauman's  Qui 

•  ened  with  "The  Kincr  of 
I    -"      Her  first  work  wa - 
ette  in  Chinese  costume.  arned 

k.     What  she   really  de- 
sired in  taking  the 

I,  and  what  they  said  and  did. 
■bout  them. 
"I    had  ning  an 

el  told  me.     'I  just  did  not  want  to  be  a 

rn  when  I  ap- 

plied  to  a  studio    J   :       Introduced  as  a  s 

work.      I   put    in    five      ish  dancer  at  a  party 

the    theater      Raquel  put  over  a  bluff 

watching.  that  started  her  career. 


48 


A  Little  Girl's  Big  Bluff 


L-fc-fc.^ 


The    lead    in    "White    Shadows 

in  the  South  Seas"  took  Raquel 

Torres  out  of  two-reelers. 

"Then  a  manager  who  had 
become  interested  in  my  sister 
Renee  wanted  her  to  go  to  the 

Christie  studio  for  a  screen 
test,  but  she  told  him  she  did 
not  want  to  go  into  pictures, 
did  not  want  to  he  a  .screen 
star.  'Take  me!'  I  said,  'I  will 
be  ze  star.' 

"Which  is  exactly  what  he 
did.  As  we  were  going  up  the 
steps  to  the  studio,  he  asked 
me  what  name  1  expected  to 
use.  'Billy  von  Osterman,' 
I  replied.  'You  know  my 
name !' 

"  'It'll  never  do !'  he  told  me. 
'You  got  to  have  something 
short  and  attractive.'  My 
brain  spun.  T  didn't  have  any 
name  to  tell  that  guy,  hut  one 
had  to  be  found  right  there  on 
those  steps.  A  moment  more 
and  T  would  he  standing  he- 
fore  the  ogre. 

"  'But  I  have  none!'  I  cried. 

'"You've  got  to  have  one! 
Remember  you  are  a  Spanish 
dancer,  just  arrived  from  Mex- 
ico City.' 

"  'I   a   Spanish  dancer?' 

"  'Absolutely.' 

"By  that  time  we  were  at  the  door  and  T  had  to  say 
something. 

"My  name  is  Raquel  Torres!'  I  blurted. 

"What  brought  the  suggestion,  where  1  ever  had  heard 
anything  like  it  before,  1  do  not  know.  T  was  introduced 
to  Al  Christie  by  that  name  and  he  seemed  pleased.  He 
took  me  through  the  studio,  and  told  everybody  that  I 
was  a  g-r-eat  dancer  from  .Mexico  City,  and  prettj  soon 
I  became  frightened.  I  had  never  done  a  Spanish  dance 
in  all  my  life.  What  if  .Mr.  Christie  should  ask  me 
to  do  one?' 

"And  then — I   got   it  1 


Raquel   is   Spanish,    Fre 
used   to   be 


'  'Miss  Torres,'  he  said, 
'we're  giving  a  barbecue  to- 
night, and  I'd  like  to  have  you 
with  us.  You'll  meet  a  lot  of 
stars  and  have  a  chance  to 
show  them  some  of  your  fa- 
mous steps.  Wron't  you  come  ?' 
'  'Caramba!'  I  thought  to 
myself.  'Now,  Raquel,  you're 
up  against  it.  What  are  you 
going  to  do?' 

"There  was  only  one  thing 
to  do,  and  that  was  to  be  pres- 
ent and  to  dance.  I  accepted 
the  invitation. 

"When  I  arrived  wearing  a 
heeg  Spanish  comb  in  my  hair, 
a  borrowed  costume,  and  car- 
rying   some    castanets,    I    was 
greeted    royally.      Every    one 
was    deferential   to   'the    little 
Spanish   dancer,'  and   after   a 
while  they  cleared  off  a  table 
and  put  me  on  it,  so  all  might 
see    my    'wonderful 
work.'     The  orchestra 
started    up    'La    Pa- 
loma,'  and  I  assumed 
a  pose  I'd   seen  in  a 
picture.      Then   I   be- 
gan executing  some  of 
the  strangest  gyrations 
human  eyes  ever  saw. 
'Great !'     shouted    the 
guests,  calling  for  an 
encore.    'Marvelous!' 
I  protested  that  the 
table  was  too  poor  a 
place     on     which     to 
dance,  and  I'd  rather 
wait    for  a  more  op- 
portune   time    and    a 
better    floor   to    show 
my  best  dancing.   And 
I  got  azvay  with  it ! 

"Yes,  that  did  take 
nerve,  but  it  pays 
to  take  chances.  Mr. 
Christie  gave  me  bits 
to  do  in  pictures,  paid 
me  seventy-five  dollars 
a  week  and  told  me  to 
keep  working  in  his 
comedies  while  he 
went  to  Europe,  prom- 
ising me  a  contract  on 
his  return.  I  had  my 
start." 

This  amazing  dance 
adventure,  with  its 
surprising  sequel,  gave  confidence  to  the  girl  from  Her- 
mosillo.  Frankly,  though,  she  did  not  like  being  butted 
around  and  dumped  into  pools  and  summarily  upset,  as 
players  in  comedies  are.  Resides,  she  had  ambitions. 
And  these  led  to  her  next  big  adventure. 

Raquel  heard  that  Metro-Goldwyn  was  seeking  an 
actress  for  the  native  girl  in  "White  Shadows  in  the 
South  Seas,"  opposite  Monte  Blue.  It  was  the  leading 
feminine  part.  Getting  it  probably  would  mean  a  long 
contract  with  one  of  the  largest  companies.  Her  career 
would  he  assured.      She  would  try. 

Continued  on  page   108 


nch,   and    German,    and   her   name 
Billy   von    Osterman. 


1'.' 


Witkin  an  Inch  of  His  Life 

Harold   Lloyd  <-'oes  to  great   lengths,  as  well  as  small   ones,   to   make   "Feet    First"   his    most    thrilling 

picture   in  years. 


Harold  Lloyd  made  the 
whole  world  gasp  at  hi*  dare- 
devil stunts  on  the  tide 
building  hundreds  of  feet 
above  Broadway.  And  in  his 
new  picture  he  promises  to  do 
even  better.  In  the  first 
place,  he  has  spent  more  time 
it,  to  say  nothing  of 
money,  and  tl 
him  say  that  he  hasn't  v. 

■ 

not  only  rmined  to 

mairr  -.dividual   place 

amonjr     the     few     comedians 

ived   time   and 

it   he  is  equally 

determined   to  cntertai: 

novelty  and  human  ap: 


In  "Feet  First,"  Harold  Lloyd 
piny*  a  timid  shoe  clerk  whose 
quiet  life  acquires  speed  when 
he  finds  himself  an  unwittinp 
stowaway  and  hides  i"  a  mail 
<ack  to  avoid  discovery.     H 

,i    well    that    when 
finally  he  cuts  himself  out  of 
tck  he   finds   1: 

ffold  a  hui 
ibove  tlie  ground.     H 
efforts  to  reac': 
shown   in   the  •   this 

with    a  n    of 

•' 

thai    make   liis 
fully   slow  to  him  ami   1 
■ 


50 


Virginia 

Valli 

has  set 

a  record 

for 

reading 

plays. 


eacups 


IT'S   just   as   well   we  didn't  go   out  to   Hollywood," 
Fanny  remarked  breezily  as  she  slid  into  the  chair 
opposite  me,   flung  purse  and  fur  aside,  summoned 
a  waiter,  and  waved  to  some  friends 
all  at  the  same  time. 

And  before  1  could  say  "For 
whom?"  she  answered,  "For  me,  of 
course.  I  wouldn't  want  to  he  out 
there  when  all  Hollywood  is  de- 
scending on  Broadway  like  a  con- 
quering army." 

"Or  the  boll  weevil,"  I  suggested, 
unnoticed. 

"Simply  everywhere  you  go  you 
see  old  friends  from  Hollywood,"  she 
vent  on  witli  rising  enthusiasm. 

I  knew  she  was  bursting  with  news. 
because    she    wouldn't    even    stop    to 
order — just   told   the  waiter  to  carry 
out — or   in.   rather — his 
own  ideas. 

"The  great  interest  in 
en  idols  is  getting 
downright  fantastic." 
Fanny  confided.  "Some 
people  are  so  anxious  to 
i"  seen  speaking  to  Al 
Jolson  that  they  all  hut 
knock  down  defenseless 
women  and  children 
who  get  in  their  way. 
Down  at  the  tennis 
tournament  at  Forest 
Hills     I     saw    the    most 

beautiful  woman.  lead- 


Fanny    the    Fan    breathlessly 
relates    the    latest    events    in 
Hollywood's  invasion  of  New 
York. 


ing  a  little  boy  by  the  hand  and  rushing  around  simply 
distracted.  It  was  Beverly  Bayne.  She  was  supposed 
to  meet  Conrad  Nagel  there  and,  of  course,  Conrad  was 
about  ten  deep  in  autograph  seekers, 
and  no  one  could  nave  found  him 
without  an  X  ray. 

"The  theater  is  to  be  littered  with 
screen  stars  making  their  debuts  this 
winter.  Colleen  Moore,  and  Virginia 
Valli,  and  Vilma  Banky,  and  Rod 
La  Rocque,  and  Olive  Borden  are  all 
here  rehearsing,  or  getting  ready  to, 
and  every  train  from  the  West  brings 
another  detachment  from  the  film 
colony.  If  stage  producers  had  their 
way.  they  would  lure  Conrad  Nagel 
hack  to  the  fold,  hut  he  likes  living 
in  California  too  well.  Just  imagine, 
this  is  his  first  trip  to  New  York  in 
seven  years." 

Fanny  spoke  in  the 
gasping  tone  reserved 
for  comments  on  sav- 
ages. 

"He  really  is  a  very 
amazing  person  ;  he  has 
so     many     interests    in 
life.     '  Lots     of     other 
people  lend  merely  their 
names  to  charity  organ- 
izations   and    culture- 
seeking    groups,    but 
Conrad  puts  his 
whole  heart  in- 
to anything  he 


Colleen 


Moore     is 
rehearsing    a    stage 
play. 


Over  the  Teacups 


..I 


spons  :"■'.   1  see  him  I  am  >«>  impn 

by  his  ;iir  ol  j >« >i>t  and  contentment  that  1  vow 
I'll  reform  and  stop  to  consider  what  it's  all  about. 
And  then  suddenly  1  remember  that  I'm  late  for  a 
date  somewhere  ami  1  get  so  bus>  covering  ground 
raphically  that  1  haven't  time  or  energ)  tor 
mental  exertion.  But  it  you're  the  thoughtful  type 
— and  sometime>  I  su  i  are.  because  1  don't 

around  much  just  remember  that  Conrad 
and  people  like  him  seem  to  have  found  a  radiant 
happiness  that  doesn't  flourish  in  night  clubs." 

!y  the  threat  that  I  would  send  the  waiter  out 
tor  a  soapbox  from  which  to  continue  her  oration 
would  make  her  stop. 

"Who  else  is  in  town""  I  asked,  idly  glancing 
around  the  Warwick  dining  room  with  a  fair  idea 
that  I  would  see  the  answer  to  my  question. 

"Marion  Davies,  at  last,"  Fanny  fairly  chirped 
with  glee.  '"I  thought  she  would  never  tear  herself 
away  from  her  European  vacation.  She  will  he 
here  for  a  while  before  ir<>inur  on  to  Hollywood 
And  Dorothy  Mackaill  is  here.  too.  You  aren't  apt 
her  around  much,  though.  After  surviving 
airplane  trips  all  over  Europe,  London  fogs,  and 
a  twenty-two-hour-a-day  routine  of  gadding  about. 
she  arrived  in  Xew  York  and  meekly  toppled 
with  grippe. 

'"There  will  be  loads  oi  picture  people  here  this 
winter.     Paramount  has  decided  that  there's  some- 
thing inspiring  about  the   East  that  makes  people 
turn  out  Ik  iter  pictures.  SO  they're  to  make  a 
many  at  the  Long  Island  studio.     Ruth  Chat; 

make  pictures  in  the  East,  and  so  is  Claudette 
Colbert.  Neither  of  them  has  arrived  vet.  but  they 
will  almost  any  day.  Then  there  are  Miriam  Hop- 
kins and  Carol  Lombard.  They  did  so  well  in  'The 
People'  that  they  have  been  given  contracts. 
and  they  will  l*>th  make  most  of  their  pictures  here. 
Ina  Gaire  and  Mary  P.rian  are  working  at  the 
studio  now,  and  so  is  Florence  Lake.  Arthur's  kid 
She's  making  shorts.  She's  having  such 
a  marvelous  time  here  she  wants  to  stav.  and  1 
do  hope  some  producer  humors  her  in  that   idea. 

"And  that  isn't  all " 

Fanny  didn't  even  pause  t"r  breath. 

"Ali  -  headed   for  Xew  York.     I 

am  curious  to  see  her.  I  have  heard  so  much 
about  her  becoming  subdued  and  refined,  and 
I  simply  can't  believe  it.  She  isn't  taking 
any  one  into  her  confidence  about  her  plans 
after    she   gets   here,   but    I    have    a    feeling 

s  going  on  tl. 
First    National   decided 
they    could     get    along 


Olive      Borden     has      a 
contract    for    stage    ap- 
pearances. 


Ruth  Chatterton  will  make  future  pictures  in  the  East. 

without   her.  you  know,   and   the   other  com- 
panies didn't  exactly  clamor  for  her  s<.-r\  ■ 
so  it's  up  to  her  to  try  the  Stage,  make  a  huge 
success,  and   then   make  them   pay   plenty   to 
get  her  back. 

"I  can't  imagine  what  show  she  will  go  into, 
unless  it's  Earl  Carroll's  'Celebrities'  revue. 
She  can't   sing  or  dance   very   well,   but 

showed    in   a    few    pictures    that 
she  could  undress  effective!] 
she  must  he  headed   for  a  Car- 
roll show. 

"Marilyn  Miller  is  rehearsing 
a  new  show,  and  won't  do  an- 
other film  until  next  summer. 
It's  always  hard  to  remember 
that  only  one  of  her  films  has 
been  shown.  She's  so  popular 
with  fans  that  she  seems  like  a 
veteran. 

"And    if    Nancy    Carroll   had 

had    her    w  would    have 

■i    in    a    stage    play.      She 

wanted  to  do  the  lead  in  her 
husband's  play.  'Erankic  and 
Johnnie."  Paramount  wanted  her 
to  do  another  picture  right 
away,  though,  so  she  couldn't, 
and   perhaps    it    is    just    as    well. 


Over  the  Teacups 


Florence  Lake  is  mak- 
ing   shorts    for    Para- 
mount. 


Stage  offers   have   failed  to  lure  Mary  Duncan  from  Cali- 
fornia. 

The  cast  and  author  and  most  everybody  else  connected  with 
the  show  were  arrested  during  the  out-of-town  try-outs  for 
giving  a  lewd,  indecent,  obscene,  and  objectionable  perform- 
ance! And  about  all  they  did  was  to  say  out  loud  things  that 
Captain  Flagg  and  Sergeant  Quirt  suggest  by  lip  movement. 

"Ann  Forrest,  who  used  to  be  in  Paramount  pictures  years 
ago,  played  the  part  Nancy  wanted 
to  play.  And  she  probably  will  ap- 
pear on  Broadway  in  it,  because 
every  one  expects  the  injunction 
against  the  play  to  be  dissolved,  or 
whatever  it  is  they  do  to   silly  blue-nose  injunctions.' 

"Stop!"  I  commanded  when  she  finally  paused  for 
breath.  "You've  mentioned  about  a  dozen  things  I 
want  to  know  all  about,  and  you  skipped  past  them  so 
fast  I  can  hardly  remember  what  they  were." 

"But  wait,"  Fanny  insisted.  "Before  I  forget,  I 
simply  must  tell  you  a  lot  of  things.  Gloria  Swanson  is 
really,  actually  to  arrive  here  soon.  She's  been  expected 
for  two  months,  at  least,  but  she's  surely  coming  this 
time.  And  you  really  ought  to  be  warned  that  after 
this  week  all  your  ideas  about  screen  idols  are  likely  to 
he  changed. 

"if  any  one  should  ask  you  who  the  next  favorite  is 
to  be.  just  say  Leslie  Howard.  After  'Outward  Bound' 
is  widely  shown,  T  wouldn't  give  a  nickel  for  any  one 
else's   chances   in   a   popularity   contest.      He   is   entirely 


different  from  any  other  actor  on  the  screen;  he 
isn't  buoyant  or  sparkling  or  dominant  or  even 
handsome.  He  looks  a  bit  like  a  young  absent- 
minded  professor,  but  what  charm  he  has!  Take 
seven  handkerchiefs  with  you,  and  don't  put  mas- 
cara on  your  eyelashes  when  you  go  to  see  the 
picture,  or  you  will  come  out  looking  like  after 
the  typhoon. 

"And  speaking  of  acting,  or  weren't  we?  If 
you  think  Helen  Kane  isn't  an  emotional  actress, 
just  go  down  to  the  courthouse  where  she  is 
appearing  this  week.  The  show  is  going  over 
without  a  single  comic  song  or  boop-a-doop.  It 
seems  that  some  old  creditors'  representative 
dragged  Helen  into  court  in  an  effort  to  find  out 
why  a  manufacturer  turned  fifty  thousand  dol- 
lars over  to  her  just  before  his  firm  went  into 
bankruptcy.  And  Helen's  feelings  are  so  hurt 
over  their  prying  into  her  private  affairs  that  she 
does  nothing  but  crying  scenes  on  the  witness 
stand." 

"Maybe  she  will  lose  some  weight  worrying,"  I 
suggested  hopefully. 


"And  who  wouldn't,"  Fanny  demanded,  "at  the  pros- 
pect of  having  to  give  back  a  lot  of  money  that  she  says 
wasn't  a  gift,  but  just  repayment  of  loans?" 

"Well,  I  don't  care,  anyway,"  I  insisted,  "I  want  to 
know " 

"Oh,  have  you  heard  about  Mary  Duncan?"  Fanny 
went  on,  paying  no  attention  to  my  wishes  at  all.  "She 
has  had  several  offers  to  do  stage  plays  in  New  York, 
and  she  is  so  crazy  about  California  she  hates  to  leave 
there.  Her  last  trip  East  was  just  too  depressing.  She 
was  aw  full}'  sick,  and  the  play  she  was  in  wandered 
around  the  try-out  towns  getting  rewritten  and  never 
reaching  Broadway.  She's  learned  a  few  camera  tricks 
now,  and  every  one  says  she  looks  and  sounds  infinitely 
better  in  'Kismet'  than  she  ever  did  before." 

I  asked  for  news  of  Virginia  Valli. 


Over  the  Teacups 


53 


"Well,"  she  hesitated,  "Virginia's  rot  so  happy. 

Several  theatrical  managers  want  to  put  her  on 
idway,  but  she  won't  sign  a  contract  with 
any  one,  until  they  find  a  play  that  she  really  likes. 
She  has  been  reading  them  at  the  rate  of  two  or 
three  a  day  for  the  past  fortnight,  and  she  has  ju>t 
■bout  decided  that  most  of  the  active  playwrights 
in  America  are  potential  coal-heavers. 

nesick  for  California.  She  caught  a 
cold  when  she  first  got  here,  and  when  a  very  im- 
portant young  man  out  West  phoned  her  she 
couldn't  -  rd. 

e  and  Colleen  Moore  came  East  together, 
and  they  figured  that  being  just  two  girls  from  the 
wild  and  a  little  exposure  to   \\  u 

York's  polish  and  sophistication  wouldn't  be  amiss. 
And  riidit  in  the  heart  of  Xew  York — in  the  Hotel 
l,  to  he  precise — they  were  kept  awake  by  the 
roaring  of  lions  in  the  Central   Park  . 

Heen  has  Started  rehearsals  for  her  Stage 
debut,   and    she's    as    nervous    as    if    she    had    never 

shown  off  before  the  public  at  all.    She  gets  panic- 
stricken  at   the   thought   o\    facing   a    Xew    York 


Picture  producers  may 
be   indifferent   to  Alice 
White,    but    stage    pro- 
ducers   aren't. 


audience,  so  she  has  stipulated  in  her  contract  that  she 
is  to  have  at  least  six  weeks  of  try-outs  in  the  Middle- 
tit   rehearsii  g  d.   loud   round  of 
clapp             that  your  hands  will  he  toughened  to 

•ge  on  her  opening  night.  Or  maybe  you  had 
better  not  go  to  the  opening.  It's  the  third  and  fourth 
and  later  perforn  worried  abou  knows 

perfectly  well  that  she  1  :h   friends  here  to   fill 

the  house  with  applause  the  I 

iie  friends  of  mine  who  just  came  hack  from  the 
Riviera  tell  me  that  Norma  Talmadge  is  reading  all  the 

If  other  film  players 
make  a  hit.  she  may  decide  I 

seems    perfectly    happy    now.    just    wandering    around 
Europe  and  having  time,  but  she  has  worked  ever 

since  a  young  habit  that's  hard  to  break. 


"Sex  in  Business'    is  the  title  of  Claudette  Colbert's  next 
picture. 

'"And  reports  from  Paris  are  that  Tola  Negri  would  just 
love  to  be  urged  to  come  back  here  to  make  pictures.  All 
these  people  who  are  so  bored  with  America  and  its  rough, 
crude  ways,  and  who  want  to  go  back  to  their  beloved  France, 
get  a  little  ennuyatlt  with  it  after  they've  heen  there  a  while 

and  they  realize  that  American  the- 
aters haven't  had  to  fold  up  because 
of  their  absence. 

"Even   Maria  Corda,  who  wasn't 

what  you  would  call  a   rousing  '-uc- 

cess  in  pictures  here,  has  come  hack. 

She's  preparing  to  study   for  a   few  months  and  then  go 

on  the  stage." 

Xow  I  have  never  held  any  brief  for  Miss  Corda's 
»vork  in  pictures,  hut  there  was  one  thing  about  her  I 
liked,  and  that  was  her  cloth. 

"Have  you  seen  her?'"  I  asked  eagerly.     "What 
she  wearing?" 

"I Hack  and  white."  Fanny  informed  me.  as  if  it  were 
the  most  absurd  of  questions.  "Lots  of  black — yards, 
and  whirls,  and  billows  of  dull-black  silk,  with  a  little 
white  here  and  there.  She  looked  stunning,  of  course. 
Isn't  it  a  pity  that  an  actress  is  expected  to  do  more 
than  dress  well  and  look  stunning 

"But  you  never  should  have  got  me  started  on  the 
subject  of   clothes.      Most    of    the   designers    and    clothes 

l  Hi 


:»t 


"Go   to   it,   baby,"   Larry  whispered,   giving  Jane   a   little   shove.     "If   anybody   finds 


Synopsis  of  Preceding   Installments. 

JANE  HAGGERTY,  a  Nebraska  girl  who  has  lived  on  the 
Spanish  island  of  Majorca  for  years,  is  given  a  screen  test  by 
Larry  Bishop,  a  news-reel  man,  which  wins  her  the  lead  in  a 
film.  She  is  renamed  Carmen  Valencia,  and  is  feted  in  Xew 
York  as  a  Spanish  actress  of  note.  She  goes  on  to  Hollywood, 
where  she  encounters  studio  routine  and  outside  gossip  until  she 
is  sick  at  heart.  She  recognizes  a  rival  for  Larry's  love  in  Paula 
Wilding.  Her  housekeeper,  Mrs.  Markham,  adds  to  her  misery 
while  waiting  for  her  picture  to  start,  with  her  doleful  recollec- 
tions and  predictions.  At  last  Larry  is  coming  home,  and  he 
will  help  her. 

Part   IV. 

A^  she  hastily  applied  make-up  and  slipped  into  a 
pale-yellow  chiffon  frock,  Jane  pondered  over 
Polly's  remark  that  she  ought  to  go  to  this  party 
01  Angle  Clement's,  as  she  might  acquire  an  extensive 
(ducat ion  that  would  do  her  some  good  later  on. 

This  town  of  Hollywood  seemed  to  he  a  weird  place, 
in  which  no  rules  of  conduct  that  were  good  anywhere 
else  meant  a  thing.  Certainly  nothing  worked  out  as 
you'd  expect  it  to.  And  the  people  were  so  queer. 
Larry'd  been  right  when  he  said  they  were  a  lot  of 
babies,  babes  in  1  [ollywood  ! 

"You  look  pretty  swell!"  exclaimed  Polly  when  Jane 
came  downstairs,  her  frock  fluttering  about  her  slim 
body.  "Probably  you'll  gel  a  lot  of  good  offers  if  you 
*ro  around  looking  like  that." 


Bab 


es  in 


Our  heroine  is  still  getting  by  as  a  Spanish  actress, 
some   close   calls    in   this    installment   of   the   story 


By  Inez  Sabastian 


"But  what  would  I  want  with  offers — -I  have  a  con- 
tract now,"  Jane  reminded  her.  as  they  went  out  to  the 
little  roadster  which    Polly  drove  herself. 

Polly's  mouth  twisted  in  a  crooked  smile. 

"I  didn't  mean  offers  for  pictures,"  she  answered. 
"Speaking  of  pictures,  how  are  you  making  out?  Gone 
to  work  yet  ?" 

lane  exploded. 

"I've  made  the  publicity  stills,  and  been  asked  to 
double  for  Paula  Wilding's  hands,"  she  blurted  out. 
"1   sit  and  wait  and  wait " 

Polly  chuckled. 

"Everybody  goes  through  that,"  she  said  consolingly. 
"Remember,  Garbo  got  the  same  run-around  when  she 


fault,  tell  'im  that's  the  way  they  do  it  in  Spain." 

Holl^vtfood 

although    Jane    Haggerty.    once    of    Nebraska,    has 
that    goes    behind    the    surface    of    movie-making. 


Illustrated    by     X  <  n  ./'    Is) r i £ h  t 


first  arrived.  I'irv  thing  you  know,  you'll  be  sitting 
pretty  and  worl  till  mid- 
night. Have  a  g<»><\  time  thi  ng — it'll  be  your  last 
party  in  weeks  and  picture 

uldn't  help   feeling  a  bit  dubious   :il>- -ut   that 
d  time.    People!  :!iar.    If  you  didn't 

ne.  didn't   ui 
the-  couldn't  remember  who'd  made  which  pic- 

tures  and  v.  >n  which  others,  you  v 

in  this  strange  town. 

n't  let  that  worr  con- 

fided her  woes.  when  you're  in  doubt,  'Oh,  I 

thought  your  la-t  pictur  nd  the  man 


or  woman  on  the  other  end  ol 
the  conversation  will  simply  lap 
it  up.  Now  here  we  are.  Don't 
let  anybody  razz  you.  and  ev< 

thing  will  be  swell." 

She  dragged  Jane  out  of  the 

car,  abandoning  it  to  the  mere* 

some  one  who  tlm\  e  it  awaj . 

and    rushed     into    the    house. 

shouting  "Martha  !     Martha  !" 

Jane  looked  around  her  in  all 
eagerness.  This  was  the  sort 
of  house  she  had  always  wanted 
to  have— beautiful  yet  comfort 
able;  no  wrought-iron  gates  and 
towering  statuary  such  as  char 
acterized  J.  <  r.'s  home  :  no  huge 
oil  paintings,  no  enormous  fur 
rugs. 

Everywhere    there    was    the 
sound  of  laughter,    Still  dul 
ing  her  bj  the  hand  Polly  towed 
her    through    room    after    room 
nodding  to  the  bridge  player- 
crap  shooters  and  dancers  the 
parsed  on  t lie*  way.     Oiv 
man    with    a    sandwich    in    one 
hand    and    a    glass   in    the    other 
attached    himself    to    them:    he 
looked    like    Robert    Montgom 
ery  hut  he  also  looked  like  some 
one  else.      lane  was  a1wa\  s   be 
ing    worried    by    sucli    resem 
blances;  some  people  looked  so 
different  off  the  screen. 

"Martha!"    howled     Polly    as 
they  went  into  the  gardens,  and 
down    to    the    swimming    pool 
Softly   colored   lights   illumined 
it    from    beneath,    making    the 
bodies   of    the   swimmers   look 
like    Strange,    tropical    fish.      A 
girl  in  a  pale  silk  bathing  suit 
was    just    making    a    beautiful 
dive,    ami    Jane    stood    entranced. 
"Is  that  Norma  Shearer?"  she  demanded,  hut    Poll) 
exclaiming  "Martha!"  delightedly  and   kissing  an 
attractive   young-looking   woman    with    white    hair,    who 
prompth  kiss,<i  her  hack  again  and  began  making  apolo- 
gies. 

"Angle   had    to   work   late   at    the    studio— she    wanted 

everybody  to  go  right  ahead  and  have  a  good  time 

"You  OUghl  to  make  a  record  of  that  explanation. 
Martha."  Polly  told  Iter.  "Angle  always  has  to  work 
late  when  she's  giving  a  party,  poor  kid.  Martha,  this  is 
Mien  Valencia,  our  newest  heart-breaker.  Pray  that 
she  doesn't  get  shunted  off  into  foreign  versions.  ( 
men.  this  is  Angie  Clement's  mother.  Martha,  the  grand- 
est woman  in  1  [ollywood." 

Smiling  into  kindly  dark-gray  eyes,  Jane  felt  that  six- 
had  found  a  real  friend,  one  whom  she  could  intrust  with 
the  truth  about  herself,  if  need  be;  "in-  whom  die  could 
trust  if  she  ever  got  into  one  of  the  awful  predicam 
that  seemed  to  be  planned  b)  a  jealous  god  for  the  affli< 
tion  of  1  |oll\  wood's  favorites. 

Martha  Clement  promptly  took  her  about,  introduc- 
ing her  to  people     all   hut   the   young  man   who   loo' 
like  Robert  Montgomery,  who  insisted  that  he  preferred 
to  he  known  as  the  mysterious  stranger.    Jan<  ged 

eat.  to  swim,  to  play  bridge  or  backgamn 
or  ping-pong,  almost  simultaneously. 
timied  on  pagi    '>- 


56 


Nasal — but  Nice 

Jean  Arthur  is  found  to  be  just  naive  enough  to  be  interesting,  and  free  of  those  plagues  of  Hollywood, 
yearning  for  big  things  in  literature  and  cultivating  a  complex,  and  she  is  not  at  all  nasal  off  the  screen. 

B?      Edxtfard       Nagle 

I  WAS  sitting  in  the  publicity  office  of  Para- 
mount, chuckling  over  the  preamble  to  Jean 
Arthur's  biography  which  some  well-meaning 
individual  had  thrust  into  my  hands. 

It  read,  "  'My  ambition,'  Jean  Arthur  is  not  un- 
willing to  say,  'is  to  own  a  farm  with  a  big,  ram- 
bling old  house.  I  want  a  cow  and  at  least  one 
each  of  every  other  domestic  animal.'  She  is  that 
sort  of  person." 

Mebbe,  I  reflected.  But  how  fortunate  that  she 
doesn't  photograph  that  way ! 

At  this  point  the  door  opened  and  a  pretty  girl 
entered.  She  smiled  in  a  friendly  fashion,  stood 
there  a  moment  and  walked  out,  leaving  me  to 
ponder  on  the  general  excellence  of  California's 
girlhood. 

A  moment  later  she  again  entered  with  a  lady 
of  the  publicity  department  in  tow,  who  introduced 
her  as  Jean  Arthur. 

While  I  apologized  to  Jean  for  not  having  rec- 
ognized her,  the  publicity  lady  tiptoed  out,  shutting 
the  door  behind  her.  Somebody  else  closed  the 
window  from  the  outside.  These  little  touches 
were  calculated,  I  gather,  to  assure  me  that  I  might 


"The  story  of  my  life  is  so  long  and 
sad  I  hate  to  go  into  it,"  says  Jean 
Arthur,  looking  frightfully  upset  as 
she   explains   her   marriage   annulment. 


Jean  wants  meaty  roles  instead  of  ro- 
mantic innocents — but  she'd  rather  not 
do    heavies    altogether. 


Nasal — but   Nice 


57 


probe  into  Miss  Arthur's  soul  in  pri- 
vacy  and  peace,  and  to  impress  upon 

me  that  her  revelation  «>t"  all  was  im- 
portant.  no!  sacred. 

"Must  1  wax  autobiographical?" 
Jean  began.    "The  story  of  my  life  is 

sad  that  I  hate  I 
into  it." 

There  is  something  in  what  she  - 

lean   came   to   Holly- 
armed  with  a  reputation  of  be- 
ing one  of  the  ra  ist  beautiful  artist's 
mod*  New   York,   a  year's  con- 

tract with  Fox,  and  a  letter  from  Win- 
field  Sheehan  about  her  latent  talent. 

"'Latent'  is  the  word,"  taUf 
Jean ;  "and  it  became  more  and  more 
apparent  during  that  first  year.  When 
my  contract  with  F<>\  expired,  they 
I  me  out.  ami  even  at  the  time 
Ain't  blame  them.  ]  was  ter- 
rihle." 

Followed  a  year  of  Westerns  in 
which  Jean  did  nothing  hut  pose  hc- 
tween  the  camera  and  the  cattle.  Then 
a  lead  in  an  independent  picture  with 
Ralph  Lewi-.  After  that  Jean  became 
a  featured  player  in  independents, 
making  about  three  a  month.  She  was 
quite  excellent  in  them.  to.,,  as  vou 
remember,    t:  u    patronize   the 

movie  cathedrals   to  the  a   of 

the  little  chapel-  -  excellent  that 
Paramount  sent  for  her.  despite  the 
fact  that  she  photographed  exactly  like 
their  Mary  Brian. 

Her  first  picture  for  Paramount. 
"Warming  Up,"  brought  her  to  the 
favorable  n  reviewers,  and 

her  second,     -  in 

which  her  light  shone  brightly  despite  the  presence 
such  incandescent-  a-  Jannings.   Chatterton,  and   liarry 
Xorton    at    hi-    In-!,    won    her    a    Paramount    contract. 
Every  picture  she  has  made  since  then,  except  "Young 
has  carried  her  a  little  farther  along  the  I 
tardom. 

The  rev  lidn't  care  for  anything  about  'A' 

did  they  -pare  Miss  Arthur. 

"Do  most   players  mind   what  the  critic-   say?"    lean 
wanted  to  know. 

"Probably  not."  I  told  her.     "At  least   they  pretend 
that  they  don't." 

"Well.    I   do   terribly.      After   reading   a    review 
"Young  in  the   Los   Ai:.  I   died    for 

v.ei : 

"Cried,  Miss  Arthur?" 

"No,  died.      '•  .    I   had   hoped   that   it   would   he 

another  milestone  in  my  career  like  "The  Saturday  Night 
Kid'  and  'Halfway  to  Heaven."  I  worked  so  hard  on  it 
that  it  hurt  awfully  to  have  it  flop." 

But  it  wasn't  her  fault  that  it   failed.     Everybody  at 
the    studio   knew    that    "You  ired    in    the 

cutting  room. 

"Lin  so  afraid  that  I  -hall  1.  •  hack  to  playing 

Jean  continued,  "and   I   don't   want  to  play  any 
more  of   them.      I    mean   the   incurahle   innocents    U| 
wh  juvenile  rests  hi-  man!) 

head,  in  th< 
to  char.v 

"Look  at  t!.:  A  pl< 

a  Li 

• 


Jean  Arthur  hates  bridges  and  teas,  and  shades   of  Pollyanna,  she   has  her 
heart  set  on  a  farm  equipped  with  a  nice  clean  cow. 


"Oh.  you  needn't  he  gallant,"  she  said,  smiling.  "I 
have  no  illusions  about  my  beauty.  That's  why  I  realize 
I  should  have  a  meaty  role  into  which  I  can  sink  my 
teeth.  Mary  Prian  could  go  on  playing  romantic  lead- 
forever  and  ever,  because  she's  so  beautiful,  hut  I  can't. 
That's  why  I  prefer  to  play  heavies.  Of  course  I 
shouldn't  want  to  do  heavies  exclusively.  I'd  like  to  do 
a  talkie  version  of  'So  Bi| 

Although    fully  aware  of   what   she'd   like  to  do.  Jean 
cannot  bring  herself  to  storm  the  executives  with  su^ 
--he  wishes  -he  could  make  her  presence  fell 
at  the  studio  as   Nancy  Carroll   does,  hut  Jean   i-   much 
too  diffident. 

Perhaps  that's  why  she's  so  popular  with  the  studio 
help.  Toward  the  lesser  workers  she  does  not  assume 
the  •  ated  graciousness  of  a  grand  lady  patronizing 

the  hired  hand-,  hut  rather  a  simple  friendliness. 

She  prefers  to  play  opposite  actors  like  William  Pow- 
ell and  Paul  Lukas  who,  she  says,  inspire  her  to  do  her 
best  work. 

"I'm  tori  old  for  players  like  Buddy  Rogers.  I  prefer 
some  one  more " 

"Adult?"  I  bait 

"Mature,"  -he  finished.     "Buddy  i-  a  sweet  kid  and 
all  the  fun  in  the  world,  hut  I'm  not  at  my  best  pl.v 
opposite  him.    The  most  stimulating  player  with  whom 
f  ve  worked  iw.     Shi  If*  i 

iter  your   own    is   exhausted       I 
erou 
from  Clara.     Sin-  hands  il 

About   a  j  tar  i  '-  marri  lulian 

■ 


58 


riiuio  b 


ACCORDING  to  reports,  a  devoted  admirer  presented  to  Robert 
Montgomery — Bob  to  his  friends — the  polo  pony  you  see  pic- 
tured with  him,  above.  And  of  course  there  was  nothing  left  for 
Bob  to  do  but  to  buy  a  polo  outfit,  including,  maybe,  some  more 
ponies,  and  take  up  the  game.  But  the  speculative  look  in  his  eye 
is  not  occasioned  by  worry  as  to  whether  he  will  be  able  to  stay  on 
the  horse  or  hit  the  ball,  but  by  wondering  whether  the  eagerly 
awaited  arrival  in  the  Montgomery  home  will  be  a  boy  or  a  girl. 
As  soon  as  that  is  definitely  settled,  Bob  can  turn  again  to  the  busi- 
ness of  making  pictures  to  delight  those  fans  who  have  acclaimed 
him  the  most  popular  leading  man   from  the  stage. 


Through  the  Mill  vtfith  Miljan 

A  fi^ht  over  a  chicken  dinner  caused  John  Miljan  to  be  an  actor  instead  of  a  priest,  his  carter  starting 
when  a  tent  troupe  picked  him  up  as  a  runaway  boy  doing  janitor  work  in  a  barber  shop. 

By     Madeline     Glass 


I'VE  always  been  lucky,"  says   l"hn  Miljan. 
Lucky! 
Halt  orphaned  in  infancy,  on  his  own  at 
the    age    of    twelve,    his   entire    youth    spent    at 
hard  labor — usually  with  poverty  dogging  his 
—in    spite   of    all    this   he   insists    that    he 
has  been  lucky. 

Perhaps  he  has  been  lucky.  Doubtless  his 
life  could  have  been  more  difficult.  Still  1  be- 
lieve it  was  courage  rather  than  luck  that 
brought  him  to  his  present  secure  position  on 
the  screen.  In  a  profession  where  failures 
and  disappointments  are  many,  John  Miljan. 
with  quiet  Slavic  determination,  forges  ahead 
and  conquers.  During  the  present  reign  yi 
terror  in  Hollywood  lie  is  cue  of  the  few  who 
is  in  no  danger  of  the  guillotine,  for  he  has 
served  a  thorough  apprenticeship.  And  this 
apprenticeship  was  nut  the  result  of  luck. 

n's  parents  were  natives  of  Dalmatia,  a 
country  so  small  and  so  far  away  that  many 
Americans  do  not  know  of  its  existence.  His 
father  came  to  this  country  and  made  his  way 
to  the    Black    Hi]  South    Dakota,    in   the 

of  profiting  by  the  gold  strike  there. 
Those  were  the  pioneer  days,  and  such  turbu- 
lent character;  damity  Jane"  and  "Wild 
Bill"  Hickok  added  color  to  the  northern 
country. 

A-    soon   as   he   could    save   the   money,    the 

father   sent    for  his   family,   and   in   the   rough 

mining  town  of  Lead,  John  was  horn.     When 

lie  was  two  \  his  mother  succumbed 

pneumonia. 

Life,  under  the  circumstances  that  John 
knew  it  then,  was  anything  hut  a  bed  of  i 
He  can  tell  you  how  the  family  hovered  about 
the  kitchen  stove  on  hitter-cold  winter  days, 
wishing  for  spring  to  come.  And  when  it  did 
there  was  always  plenty  of  work  to  do, 
usually  in  the  mil   * 

When  John  reached  tin-  age  of  twelve,  his 
father  decided  to  educate  him  for  the  priest- 
hood. The  boy  had  not  manifested  any  relig- 
tendencies,  yet  he  stoically  accepted  this 
dictate,  and  was  bundled  off  to  St.  Martin's 
Academy. 

Sundaj  the  duty — or  privili  ■ 

of  one  of  the  boys  to  drive  the  pastor  oul 
country  mission.     These  visits  were  enjoyed  by 
the  boys,  for  they  were  always  given  a  chicken 
dinner  at  a  farm  lie  Sunday  when 

it   was   John's   turn   to  go   another   hoy   out- 
generaled   him   and    went    instead.      Result — a 
ipension,  and   a   return   to   the   family 
John's     father 
gave    him    the    choice      "rve   always   been 
back   to   the      >^y,"    Mr.    Miljan 
says,     but     his     secure 
academv     or     leaving      (  '  /•  „  .. 

*  tooting  on  the  screen 
home.  John  accepted  indicates  more  than 
the  latter,  and  calmlv  mere  luck. 


60 


Tkrougk   the  Mill  xtfith  Miljan 


Photo  by  Hurrell 

The  portrayal  of  a  crazy  man  retarded  John  Miljan's  progress 
for  he  was  made  to   play  four  of  them. 


walked  to  the  nearest  town  and  got  work  at  anything  he 
could  find  to  do. 

It  was  while  he  was  working  at  three  or  four  different 
jobs — janitor  in  a  theater  and  a  doctor's  office,  working 
in  a  harher  shop,  and  doing  various  chores — that  he  was 
noticed  by  a  man  who  expressed  surprise  at  seeing  him 
in  so  many  places. 

The  man  turned  out  to  he  the  head  of  a  theatrical 
troupe  which  was  then  in  the  town.  His  wife  was  also 
with  the  company.  When  John  subsequently  met  her 
he  absent-mindedly  replied,  "Yes,  sister."  On  question- 
ing him  and  finding  that  he  had  just  come  from  a 
( 'atholic  school,  she  explained  that  she  had  previously 
taken  the  veil,  hut  had  renounced  the  sisterhood  to  be- 
come an  actress. 

Young  John's  brightness  and  energy  being  obvious, 
the  couple  asked  him  to  go  with  them  on  their  tour. 
The  hoy  was  more  than  willing,  and  soon  he  resolved 
that  he,  too,  would  he  an  actor,  a  resolution  that  never 
faltered,  no  matter  how  rough  the  road  became, 

During  the  next  two  years  he  was  general  handy 
man  of  the  troupe,  playing  small  roles  or  large  ones, 
old  men  or  young,  distributing  handbills  at  five  o'clock 
in  the  morning,  selling  tickets,  laboring  as  express- 
man or  janitor,  or  at  any  other  work  which  came  to 
hand. 

"My  work  began  at  five  in  the  morning  and  lasted 
until  about  one."  said  he. 

"One   in   the   afternoon?"    1    asked. 

"No,  one  that  night." 


Xicc,  agreeable  hours  for  a  boy  who  should 
have  been  in  school ! 

"I  was  strong  and  hardy,"  he  continued.  "The 
hard  work  didn't  hurt  me.  What  I  disliked  most 
was  that  they  wouldn't  pay  me  any  salary.  All 
I  got  was  a  place  to  sleep,  my  meals,  and  such 
clothing  as  I  needed.  When  I  said  anything  about 
money  the}-  threatened  to  send  me  back  home,  and 
that  always  silenced  me." 

Back  home!  Back  to  the  mines  and  the  bitter- 
cold  winters  ! 

After  two  years,  however,  John  struck  for  five 
dollars  a  month,  and  when  this  was  refused  he 
walked  out,  having  no  money  for  any  other  mode 
of  transportation,  and  did  such  odd  jobs  as  he 
could  get,  until  he  fell  in  with  another  vagabond 
theatrical   company. 

Xew  York  was  his  goal,  of  course,  and  he 
scorned  no  opportunity  that  would  help  to  fit  him 
for  a  chance  on  Broadway. 

While  still  in  his  teens  he  signed  a  contract,  after 
merely  glancing  at  it,  to  play  juvenile  leads  with 
a  new  company  in  Kansas  City.  And  like  all  un- 
read contracts,  this  proved  to  have  several  objec- 
tionable clauses. 

John  went  to  meet  the  manager,  his  only  ward- 
robe being  that  in  which  he  stood.  When  asked 
where  were  his  trunks  he  said  that  he  had  left 
them  in  another  city.  They  were  not  worth  send- 
ing for,  he  added.  On  learning  that  his  newly 
acquired  leading  man  was  without  clothing  and 
broke,  the  manager  advanced  enough  money  for 
Miljan  to  buy  some  new  things.  And  every  cent, 
to  be  sure,  was  deducted  from  the  actor's  wages. 
Being  deeply  in  debt  to  the  manager,  he  had  to 
stick  through  thick  and  thin.  The  theater  consisted 
of  a  tent,  with  furnishings  which  were  moved 
from  town  to  town  on  wagons. 

After  the  first  performance  a  heavy  storm  came 
up,  and  John  went  and  stayed  in  his  cheap  hotel 
room.    Later  the  manager  came  in,  hot  and  fuming. 
"Why  didn't  you  come  down  to  the  theater  when 
the  storm  broke?"  he  wanted  to  know. 

"Why  should  I  want  to  get  wet?"  inquired  John. 
"You  are  supposed  to  help  hold  down  the  tent  during 
storms,"    snapped    the    manager.      "If    you    look    you'll 
find  that  in  your  contract." 

And  sure  enough,  the  contract  said  something  to 
that  effect. 

Later  Miljan  was  given  a  pair  of  overalls  and  gloves, 
and  ordered  to  help  load  the  theater  seats  and  tent  onto 
the  moving  vans  when  the  company  prepared  to  go  to 
another  town.  When  he  protested,  the  manager  in- 
formed him  that  he  would  find  that  also  stipulated  in 
his  contract. 

So  Miljan  assumed  the  additional  labors  of  a  drayman. 
Scarcel\-  had  he  recovered  from  his  astonishment  when 
the  manager  broke  the  news  that  he  was  to  don  make-up 
and  costume  and,  for  half  an  hour  before  each  perform- 
ance, to  sell  tickets  at  the  box  office.  This  scheme  was 
designed  to  stimulate  business,  as  girls  and  women  were 
believed  to  buy  reserved  seats  more  readily  if  the  tickets 
were  sold  by  the  leading  man  of  the  play. 

Miljan  objected,  only  to  hear  again  the  manager's 
theme  song.  "It's  in  your  contract." 

John  didn't  think  much  of  his  contract,  but  the  experi- 
ence taught  him  never  again  to  sign  a  paper  without  first 
reading  it. 

Then  one  day  the  manager  asked  Miljan  if  he  played 
an}-  musical  instrument.     That,  John  thought,  wasn't  in 
his  contract,  but  he  admitted  that  he  had  learned  to  play 
Continued  on  page  111 


til 


A   Confidential   Guide  to   Current  Releases 


WHAT  EVERY  FAN  SHOULD  SEE. 
"Romance" — Metro-Goldwyn.       Greta 
-  portrayal 

tused   her  to  dismiss   the   man 
she  loves  is  great — tender, 

•>■  thought  and  feeling  reg- 
;.,  ■.-.  s    S  ipital       Gavin 

Gordon  the  hero;  Florence  Lake  de- 
lightful. 

"Raffles" — United  Artists.     Most  civi- 
current    film — gay,    ironic,    intelli- 
::ia.      It   will  i  all. 

Ronald  Colman,  Kay  Francis,  David 
Torn  like  human  beings,     I 

dialogue.  Frederick  Kerr.  Alison  Skip- 
worth   .-how   their  value   Oil   screen. 

"Dawn  Patrol.  The"—  1  nal. 

War    story    without    love    inter 
Richard     Barthelmess,     Neil     Hamilton, 
and   Douglas    Fairbanks,   Jr.,   opportuni- 
ties   cap-.  •   lotted.      Lite    among 
Royal    Flying    Corps,    showing    hid 

war.     Barthelmess' s   best 
in  years. 

"Big  House.  The"— Metro-Goldwyn. 
Savage  picture  of  lite  behind  prison 
walls,  wrought   drama  depending 

upon  character  rather  than  studied  plot. 
Wallace  Beery,  sly.  hardened  criminal; 
Chester     Morris,     slick  Robert 

Montgomery.  tivict.      Revolt    of 

pris  "ring   scene. 

"Holiday" — Pathe.     Well-known  play, 

with   good   c.;-  r   rich   girl   mopes 

having    too    much    money,    finally 

s    up    an  I  -    from    her    Park 

Avenue   "prison."      Ann    Harding,    Mary 

Astor,     Robert     Ames     good.       Monroe 

standing;     Edward    Kverett 

Horton,  Hedda   Hop; 

"Caught  Short" — Mctro'-Goldwyn.  Ma- 
rie Dressier  and  Polly  Moran  as  rival 
boarding-house  keepers.  One  makes  a 
haul  on  Wall  Street  and  g<>cs  hay- 
.  A  son  of  one  loves  the  daughter 
of  the  other.  Enough  said.  Excellent 
support  from  Anita  Pane.  Charles  Mor- 
ton,  T.   Roy    Banus,   Herbert    Prior. 

"Ail  Quiet  on  the  Western  Front"— 
Universal.  Faithful  screening  of  the 
most  realistic  novel  of  World  War,  with 
no  happy  ending  or  girl  appeal. 

film   document   against   war.      Lewis 
Ayri  Wolheim,  "Slim"  Sumnur- 

ville,  Russell  Gleason,  William  Bake- 
well,  John  Wray  outstanding  in  big  cast. 

"Devil's  Holiday.  The"— Paramount. 
Human,  sympathetic  characterization  by 
Nancy     Carroll.  ch     the     star. 

Manicurist  out  West  sells  farm  machin- 
ery   to    customers,    and    finally    mat 

of    big   wheat    man.    and    complica- 
Nice  old  hokum.     Phillips 
Holmes.  Hobart  Bosw«rth, 

James  Kirkwood. 

"Free  and  Easy" — Metro-Goldwyn. 
Low    comedy    at  with    I'. 

Keaton  escorting  a  beauty-contest  win- 
ner,   Anita    P  .  >d.      Old 
idea  with  new  treatn 
of  many  screen  notables  at  the  studios. 

"Song    o*     My    Heart"— Fox.      John 

'ormack     central     figure     in     gentle 

Irish    story,    with    eleven    songs    beauti- 


recorded.     Finely   directed,   excel- 
lently acted,  wnli  new  ingenue,  Maureen 

tnd     loll::  •  rd,    both 

from  Ireland.  John  Garnck,  J.  M.  kei- 
Alice  J 
"Seven  Days'  Leave" — Paramount. 
Exceptional  film,  lacking  boy-and-girl 
love  element,  with  honors  to  Beryl  Mer- 
cer and  Gary  Cooper.  Charwoman  "in- 
vents" soldier  son.  and,  to  humor  her, 
a  rial  soldier  has  her  to  adopt  him. 
Simple,    touching. 

"Vagabond    King,    The" — Paramount. 
All   Technicolor.     Beautifully  filmed,  far 
e     the     "Oh.     yeah?"     and     tootsie 
the:-.  musical    films.      Story    of 

Villon,  the  French  poet,  and  Louis  XI 
— Dennis  King  and  O.  P.  He^Hie  re- 
tively,  both  excellent  Warner 
Oland  and  Lillian  Roth  tine.  Jeanette 
MacDonald  pastel  leading  lady. 

"Rogue  Song,  The" — Metro-Goldwyn. 
Song,  dialogue,  all  Technicolor.  Law- 
rence Tibbett's  debut  on  the  screen  is 
high  mark  of  musical  films.  Magnifi- 
voice,  vigorous  personality  make 
up  for  weak  story,  made  weaker  by  de- 
tached horseplay.  The  bandit  kidnaps 
the  princess.  Catherine  Dale  Owen, 
Florence   Lake. 

"Dynamite"  —  Metro-Goldwyn.  All 
dialogue.  Cecil  DeMille's  first  experi- 
ment in  talkies  brilliantly  effective. 
Moviesque  plot,  embellished  with  fine 
acting  and  photography  and  intelligent 
dialogue,  becomes  convincing,  even  if 
about  coal  miner  and  society  woman. 
Kay  Johnson's  debut  perfect.  Charles 
Bickford,  Julia  Faye,  Conrad  Nagel, 
Muriel    McCormac,    Leslie    Fenton. 


FOR    SECOND    CHOICE. 
"Old  English" — Warner.     George  Ar- 
liss   in   character   study  of  old   man   who 
holds    onto    what    he    has    pot    through 
craftiness,   and   his    rebellious    end.      In- 
telligent   cast    includes    Murray    Kinnell, 
Doris   Lloyd.   Bitty   Lawford.   Henrietta 
dwin,  and  others  from  stage. 
"Anybody's       Woman"  —  Paramount. 
Ruth   CJiatterton  again   leads   the   - 
caravan    as    chorus    ^irl    who    marr: 
lawyer  while  he   is   drunk,  and  their  ad- 
ient   and   eventual   love.     Intensely 
interesting  with  the  compelling  star  and 
Clive  Brook,  Paul  Lukas,  Juliette  Comp- 
ton. 

"Common  Clay" — Fox.  Relic  of  the 
th  claptrap  drama  that  relii 
the  tear  ducts  and  gives  a  woman  won- 
derful chance  to  be  sorry  f'>r  women, 
particularly  her  own  forlorn  self.  Girl 
tries  to  go  straight,  but  alas,  those  men, 
men.     I  e   Bennett 

Mercer. 
"Rain      or      Shine" — Columbia.        Joe 
Coo!-  -  i-   n  fr<  nd   you'll 

:ine  to  the  screen,  even  in 
a   circus    story.     Young   man    i 

to    run  ring. 

Joan   P<  i  rs,  William  Collier,  Jr.,   Louise 

"Way    Out    Wert"— Metro-Goldwyn. 
William  Hail 


a  ranch,  opposite  Leila  Hyams,    Haines 
cheats     some     cowboys     with     roul 

wheel   and   they    take   him   home   to   unik 

out   the  money.     Polly    Moran.    I 

X.   Bushman,  Jr.,  Jack   Penhick,  Buddy 

Roosevelt    I  dwards. 

"Hell's  Angels"  United  Artists.  Mil- 
lion-dollar airplane  maneuvers  and  pho 
tphy  and  a  thii  l\  c<  Dl  story  make 
unbalanced  film.  James  Hall  and  Bin 
Lyon  miscast.  Jean  Harlow  the  heroine 
who  causes  brothers  to  do  strange  things 
behind  the  trenches.  Planet  and  Zeppe- 
lins  are   the   sta:  -. 

"Moby  Dick" — Warner.  John  Barry- 
more's  revival  "f  his  old  film,  is  excit- 
ing, but   without   the   subtle  terror  of  the 

silent  version.     The  well-known  epic  of 

the    treacherous    brother,    the    girl,    and 

the  sea  beast.    Joan  Bennett  st.: 

ingly  Li i r  1  i - 1 1  as  others  grow  old.     Lloyd 

I  lughes  satisfactory. 

"Good  Intentions" — Fox.  Brightly 
told  crook  melodrama,  with  Edmund 
Lowe's  in -t  performance,  Marguerite 
Churchill  excellent,  and  return  of  F.arle 
Foxe.  A  silk-hatted  crook  and  a  trust- 
ing girl.  Regis  Toomey,  Eddie  ('.rib- 
bon, Owen   Davis,  Jr.,  Robert   McWadc. 

"Grumpy" — Paramount.  Cyril  Maude, 
the  English  aeteir,  gives  mellow  stage- 
like performance,  with  appeal  for  old'  r 
fans.  Not  one  "Oh,  yeah?''  Mild 
about  a  nephew,  a  crook,  and  a  diamond. 
Frances  Dade  and   Phillips  Holmes. 

"Our  Blushing  Brides"— Metro-Gold- 
wyn. Be  nil  '  m aid,  and  you'll 
a  millionaire  for  your  man,  with 
douny  cars  and  all.  This  is  the  message 
of  too  many  films  to  the  world,  an 
new  version  is  thinly  redressed.  Joan 
Crawford's  best  performance  recently. 
Dorothy  Sebastian,  Anita  Page,  Ri 
Montgomery,  Raymond  Hack' 

"Manslaughter" — Paramount.      Pros, 
cutor  causes  his  ladylove  to  be  convicted 
for     reckless     driving     that     resulted     in 
death  of  a  policeman.     He  quits  job,  and 
finally  wedded  bh'sS   looms  ahead. 
must  accept  theory  that  married  couph ~ 
never  bring  up  the  past.     Claud 
bert,    I-'redric    March,   Natalie    Moor] 

"Man  From  Wyoming,  A" — Para- 
mount. War  film  in  which  captain  mar- 
ries nnr-  '  kill<  d,  returns  t<> 
find  gay  party  at  home,  and  he  turns 
away — but  there's  a  proper  end 
Gary  Cooper  better  than  ever;  June 
Collyer  triumphs.  Ri  :  omey  and 
K.  H.  Calvert. 

"Let    Us    Be    Gay"—  M<  tro-Ooldwyn. 
dy     wife    lets     husband     drift,     turns 
tables  by  becoming  social   bird   of  : 

her  man  I 
him    back — favorite    c 
losing    wives.      Norma    Shearer    a    hit. 
Mar  ler,   Gilbert    Emery,   Hedda 

Raymond   Had  <tt. 

"Wild    Company  Frank    Al- 

in  role  requiring  vari- 
ety of  moods,  proving  him  one  of  the 

if  father  who 
'    of   guid 
II.    P.    Warner   tl  I  Mc- 


(.2 


"Abraham   Lincoln"   reestablishes   D.   W.    Griffith  as    a    marvelous    director    who    receives    superb 
cooperation  from  Walter  Huston  and  Una  Merkel. 

creetx  m  E>g\?ieur 

f£  ]tfat>bert[ask 

A  critical  inspection  of  the  new  films  yields  causes  for  enthusiasm  as  well  as  regret. 


ABRAHAM  LINCOLN,"  as  produced  by  D.  W. 
Griffith,  is  doubly  significant.  First,  because  it  is 
a  rare  picture — beautiful,  human,  inspired  by  in- 
telligence and  sincere  feeling  and,  second,  because  it  is 
the  work  of  a  pioneer  whose  influence  on  the  screen 
since  the  earliest  days  attains  a  splendid  climax  in  one 
of  the  noblest  pictures  either  he  or  any  other  director  has 
ever  contributed.  Respect,  enthusiasm,  and  thanksgiv- 
ing are  commingled  in  a  tribute  to  Mr.  Griffith  for  re- 
establishing bis  leadership. 

Reverently,  but  not  self-consciously,  be  lias  approached 
the  task  of  visualizing  the  life  of  the  great  American, 
yet  with  none  of  that  meticulous  precosity  which  often 
obscures  the  drama  of  a  biography.  Lincoln's  story  has 
all  the  elements  of  a  great  drama  and  one's  response  to 
it  is  enhanced  by  the  knowledge  that  every  pictured 
detail  is  authentic,  every  character  real. 

It  begins  with  the  birth  of  Lincoln  and  ends  with  his 
assassination.  Over  this  spacious  canvas  moves  the 
great  man,  always  simple  and  sincere  and  always  under- 
standable, neither  romanticized  nor  pitied,  bis  gauche- 
ries  as  evident  as  bis  deep  feeling  and  awareness  of  bis 
responsibilities. 

In  bringing  this  extraordinary  character  to  the  screen 
Mr.  Griffith  has  the  cooperation  of  Walter  TTuston. 
whose  triumph  is  not  one  whit  less  than  that  of  the  man 
who  conceived  the  picture  as  a  whole.  In  bis  short 
career  on  the  screen,  Mr.  Huston  has  contributed 
nothing  less  than  superlative  characterizations,  and  his 
Lincoln   naturally    surpasses    them    all.      His   transitions 


from  youth  to  middle  age  never  depend  on  make-up 
merely,  but  are  seemingly  wrought  by  time  itself.  And 
so  close  does  the  actor  come  to  the  spectator  that  one 
ceases  to  think  the  picture  is  episodic,  as  naturally  such 
a  biography  tends  to  be.  Instead,  he  maintains  con- 
tinuity of  thought  with  such  high  inspiration  that  one's 
imagination  follows  Lincoln  when  he  is  not  actually 
visible. 

Of  the  cast  I  like  best  Kay  Hammond,  as  Mary  Todd, 
who  succeeds  admirably  in  being  a  termagant  without 
loss  of  sympathy,  and  whose  humanness  is  on  a  par 
with  that  of  every  other  character  in  the  picture,  down 
to  the  least.  Una  Merkel,  as  Ann  Rutlcdgc,  Lincoln's 
first  love,  is  interesting  and  an  excellent  actress,  but  I 
cannot  accustom  myself  to  her  infantile  voice  which, 
though  expressive,  reminds  me  too  much  of  conscious 
cuteness.  Ian  Keith  is  superb  as  Jolm  JVilkcs  RootJi,  a 
barnstorming  actor  whose  murder  of  the  president  is 
plainly  actuated  by  a  frustrated  desire  for  the  center  of 
the  stage  at  last.  Other  players  are  Hobart  Bosworth. 
Henry  B.  Walthall,  Jason  Robards,  and  many  others,  all 
without  a  flaw  in  the  perfect  whole  of  a  great  picture. 

Life   After   Death. 

"Outward  Bound"  is  strangely  different.  It  stands 
apart  in  the  welter  of  mediocrity  that  floods  the  screen. 
Vou  will  not  place  it  among  the  most  entertaining  pic- 
tures you  have  ever  seen,  but  you  will  recognize  its 
arresting  quality  and  its  originality,  to  say  nothing  of 
admirable    acting    on    the    part    of    all    concerned.      Par- 


The  Screen  in  Review 


ticularly  will  you  note  with  pleasure  the  screen 
debut  of  Leslie  Howard,  whose  reputation  as  a 
leading  man  on  the  New  York 
ond  to  none.  1  think,  too,  that  you  will  com- 
mend Warner  Brothers  for  their  courage  in 
producing  a  picture  that  deliberately  avoids 
the  pattern  of  routine  plots  and  situations  and 
achi  nine  individuality. 

course  you  want  to  know  what  it  is  that 
makes  "' hitward  Bound"  unlike  other  pictures. 
In  the  first  place  it  deals  with  life  after  death. 
however,  in  an  imaginary  heaven,  but  on 
an  liner  slowly   making  its  way 
through  mist  and  fog  toward  immortality.    The 
rs  are  a  pair  ^i  young  lovers,  an  over- 
bearing   capitalist,    a    snobbish    dowagt  i 

man,  a  neurotic  drunkard,  and  a  scrub- 
woman. They  neither  know  how  they  happen 
to  be  aboard  nor  where  they  are  going,  until 
gradually  it  is  made  known  to  them  by  the 
steward  that  they  are  not  living  but  dead. 
Examiner  makes  his  appearance  and  by 
means  of  questions  and  parables  uncovers  the 
sins  and  shortcomings,  the  virtues  and  vices  of 
group,  denyii  me  the  privilege  of 

"landing,"  to  others  meting  out  punishment. 
The  young  lovers,  for  example,  are  denied 
immortality  because  of  their  suicide  while  on 
earth,  and  the  dowager  must  expiate  her  be- 
trayal of  her  husband  by  nursing  him  in  a 
villa  on  the  Riviera. 

Thus  you  will  glean  that  the  picture  bears 

lation  to  current  success,  yet  I  think  you 

will  like  it  in  the  way  you  approved  "All  Quiet 

on  the  Western  Front"  for  its  departure  from 

the  conventional  in  war  pictures. 

Besides  Mr.  Howard,  there  are  Beryl  Mercer 
charwoman,    of    course — Douglas    Fairbanks,    Jr..    and 
len    Giandler.    as    tin  — the    latter    giving    her 

■    performance   so    far:   Alec    ]'».    Francis,    Montagu 
Love.    Dudley    1    |  was   the  warden    in    "Con- 

ned," and  Alison  Skipworth,  who  proves  her  claim 
to  the  title  of  the  dowager  queen  of  the  sta?c. 

Romance  and  Roulette. 
The  tabled  gayety  and  devil-may-care  spirit  of  Monte 
Carlo  are  missing  from  the  picture  named  after  the  re- 
sort on  the  shores  of  the  Mediterranean.     Diverting  at 
tin*  distinctly  dull  at  others  and  at  no  time  i<  it 

ilarating.      It  is   form  comedy  with   incidental   songs, 
which  means  that  they  are  less   irrelevant   than    if   the 
piece  were  a  musical  comedy,  with  intrusive  choru 
dresses  that  never  saw  the  light  of  day  anywhere,  and 
all  the  the   impediments   of   the   musical   show. 

For  which  a  profound  sigh  of  relief  is  heaved  from  this 
quarter.    Furthern*  directed  by  Ernst  Lubitsch, 

which  means  that  it  is  punctuated  with  reasonable  fre- 
quency  by  deft   touches,  amusing,   ironic,  and  cynical. 

tablished  Mr.  Lubitsch  among  the  leaders  in 
the  days  when  the  -'Tien   -aid  in   Mlence.     The 

•'iere  aren't  enough  of  these  touches  to  pro- 
due  nee.  And  that  is  hecau.se  the  material 
at  the  director's  command  is  feeble  and  shopworn. 

You  will  agree  when  you  realize  that  ninety  minutes 
are  consumed  in  relating  the  rowan:  intcss  Mara 

who  runs  away  at  the  moment  of  wedding  Prince  Olio 
and  arrives  at  Monte  Carlo  with  her  maid.  Maria.  Tl 
she  attracts  Count  Rudolph,  who  masquerades  as  a  hair- 
dre-^er  in  order  to  he  near  her.  while  Mara  gambles 
awav  what  little  money  she  has.  Whereupon  Rudolph 
announces  that  he  has  won  a  huge  sum  at  the  gaming 
tables  and.  like  all  devoted  '1  to 


Leslie    Howard    makes    his    screen    debut    in    "Outward    Bound,"    a 
most    unusual    picture    which    gains    much    through    the    presence    of 

Beryl   Mercer. 


-as  the 


his  employer.  About  this  time  Mara  attends  an  operatic 
performance  of  "Monsieur  Beaucaire,"  in  which  a  duke 
»S  his  inamorata  while  in  the  <,mi-e  of  her  hairdresser, 
and  the  truth  of  her  suitor's  identity  dawns,  somewhat 
belatedly,  upon  Mara.  Of  course  flirtation,  misunder- 
standing, bridling,  and  haughtiness  ike  out  the  course 
of  this  tepid  amour,  but  one  hasn't  forgotten  at  its  con- 
clusion that  an  hour  and  a  half  were  given  to  it.  The 
SOngS  are  pleasing,  hut  hardly  better  than  the  mediocre 
melodies  one  hears  every  week  coming  from  the  sen 

The  performance  of  Jeanette  MacDonald,  as  the 
heroine,  is  the  best  -he  has  so  far  given  and  wins  for 
her  all  the  honor-.  She  adds  the  novelty  of  sprightli- 
ness  to  her  acting  and  displays  a  sense  of  humor  that 
-hows  her  to  be  a  comedienne.  Jack  Buchanan  fares 
not  SO  well.  An  unusual  dancer  on  the  Stage,  he  is  de- 
prived of  the  opportunity  to  do  that  in  which  he  ex- 
cel-, to  play  a  "straight"  hero,  in  which  he  doesn't  shine 
at  all.  In  fact  a-  a  Continental  nobleman  the  British 
favorite  is  misea-t  a-  i-  al-o  Claude  Allister,  who  plays 
Prince  Olio  von  Seibenheim  with  the  haw-haw  and 
monocle  of  an  old-time  Piccadilly  Johnny.  Zasu  Tilt-  is 
quaveringly  effective,  a-  usual,  as  Maria,  and  Donald 
Novis  sings  beautifully  the  too  brief  role  of  Beaucaire. 

Spy    Against    Spy. 

If  you  know  your  screen  well,  you  remember  "Three 
laved  in  silence  some  \< 
by  Jetta  Goudal  and  (live  Brook.  It  reappears  with 
dialogue  and  Constance  Bennetl  and  Erich  von  Stro- 
heim.  Well  done,  of  course,  it  hasn't,  to  me,  the  old 
appeal  and  suspense.  Possibly  because  it  is  familiar, 
possibly  because  Mi--  Bennett,  for  all  her  sophistica- 
tion— JUSt  what  does  that  mean,  anyway? — isn't  as  sul,'- 
tive  of  mystery,  of  spying  and  secrecy  as  the  one  and 
only  Jetta.     Good  though  her  performance  is      the 


I.I 


The  Screen  in  Review 


"Dixiana 


3 

1  i     Bk£^k£        J 

"Call  of  the  Flesh. 


"The  Spoilers." 


in  my  opinion,  she  has  ever  given — still  she  is  too  obvious,  too 
girlish  to  convex'  the  dark  secrets  Miss  Goudal's  mere  presence 
indicated.  While  comparisons  often  are  odious,  not  to  say  un- 
necessary, when  two  actresses  play  the  same  role  they  invite  a  chal- 
lenge whether  they  wish  it  or  not.  And  here  is  one  reviewer  who 
yearns  for  the  return  of  Jetta,  whether  silent  or  audible. 

Be  that  as  it  may,  the  picture  concerns  secret  service  activities 
during  the  late  war.  with  Miss  Bennett  as  Miss  Hawtree  and  Mr. 
Von  Stroheim  as  /  'aider,  the  butler  in  the  household  of  Sir  Winston 
Chamberlain.  Valdar,  a  spy  of  the  German  government,  is  de- 
ceived by  Miss  Hawtree  into  believing  that  she  is  a  confederate,  but 
at  bis  last  gasp  he  learns  that  her  motto  is  "God  Save  the  King." 

A  bit  old-fashioned  at  this  late,  day,  the  picture  nevertheless  is 
better  than  many,  and  if  the  story  is  new  to  you  it  becomes  better 
still.  Mr.  Von  Stroheim  is  effective,  more  because  of  his  dramatic 
presence  than  bis  voice,  which  is  not  that  of  an  experienced  actor, 
but  a  Hollywood  novitiate  learning  to  talk.  The  other  roles,  played 
by  William  Holden,  William  Courtenay,  and  Anthony  Bushell  are 
good  enough.  Those  who  remember  the  silent  version  will  recall 
Robert  Ames  in  the  role  played  currently  by  Mr.  Bushell.  and  com- 
parison will  establish  the  superiority  of  the  mute  melodrama. 

In  Gay  Seville. 

After  showing  us  that  there  is  no  gayety  in  Madrid,  according 
to  the  findings  of  the  screen,  Ramon  Novarro  moves  to  Seville 
and  restores  our  illusions  of  Spain  in  "Call  of  the  Flesh,"  bis  most 
agreeable  contribution  since  "Devil-May-Care."  His  humor,  charm, 
and  sincerity  dominate  a  story  that  would  be  less  than  important 
without  him,  but  which  is  extremely  worth  while  because  of  his 
delightful  acting  and  singing.  He  is  Juan,  who  sings  and  dances 
with  Renee  Adoree  in  a  cantina  which  is  surprisingly  near  a  con- 
vent where  Dorothy  Jordan,  a  novitiate  who  has  not  yet  takeji  her 
vows,  falls  in  love  with  the  sight  and  sound  of  him.  She  steals 
away  from  the  convent  and  ingenuously  appeals  to  him  for  pro- 
tection, Juan  whimsically  adding  her  to  bis  household  as  cook.  All 
goes  as  merrily  as  a  pretty  fairy  tale  until  Miss  Adoree  appears 
on  the  scene  with  the  girl's  brother  who  is  bent  on  avenging  the 
wrong  be  thinks  has  been  done  bis  sister.  For  dramatic  purposes 
Jnan  sacrifices  his  love  on  the  eve  of  the  wedding,  and  is  thus 
enabled  to  sing  "Ridi,  Paglaccio"  in  a  Technicolor  excerpt  from  the 
opera.     Of  course  everything  comes  out  all  right. 

Miss  Adoree  is  piquant  and  deft,  Miss  Jordan  is  well  cast  as  the 
little  innocent,  and  Ernest  Torrence  and  Mathilde  Comont  add 
much  to  the  gayety  of  the  proceedings. 

There's  Gold  in  Alaska. 

If  your  knowledge  of  screen  history  goes  back  many  vcars  you 
will  remember  "The  Spoilers"  as  it  was  done  ages  ago,  when 
William  Farnum  was  a  name  to  conjure  with  and  Tom  Santschi 
and  Kathlyn  Williams  belonged  to  that  glorious  company  of 
pioneers  who  made  pictures  something  to  talk  about.  To  many, 
however,  the  revival,  with  dialogue,  will  be  a  new  story.  Mind,  I 
don't  say  a  novel  one.  It  is  another  yarn  of  the  gold  rush,  taking 
place  two  years  later  than  the  events  that  transpired  in  "The  Trail 
of  '98."  It  shows  the  efforts  of  villains  from  the  East  to  defraud 
the  valiant  sourdoughs  of  gold  they  have  wrung  from  the  earth. 
Among  the  latter  is  Glcnistcr,  the  hero,  who  leads  the  resistance 
against  McNamara  and  Judge  Stillman.  Of  course  Glenister  tri- 
umphs, the  interlopers  are  confounded,  and  Glcnistcr  wins  Helen 
Chester,  who  is  half  engaged  to  McNamara. 

All  this  is  enlivened  by  considerably  racy  detail  supplied  by  such 
experienced  actors  as  Harry  Green.  Slim  Summerville,  and  James 
Kirkwood.  the  latter  being  especially  good  as  Glcnistcr's  uncouth, 
philosophic  pal.  However,  the  picture  as  a  whole  is  only  mod- 
erately interesting,  partly  because  it  is  rather  slow  and 'partly  be- 
cause one  does  not  feel  keen  interest  in  the  characters,  excellently 
as  they  are  played.  Life  in  Alaska  has  been  pretty  thoroughly  ex- 
ploited on  the  screen  and  there  seems  nothing  more  to  say  about  it. 

Gary  Cooper  is.  of  course,  entirely  satisfactory  as  Glcnistcr,  Kay 
Johnson's  beautiful  voice  is  a  joy  to  ears  worn  by  uncultivated 
accents,  and  William  Boyd,  of  the  stage,  is  an  attractive  villain 
whose   fight  with   Mr.   Cooper  is  properly  violent   and   sanguinary. 


The   Screen   in   ReVieW 


05 


though  it  lacks  the  horror  and  suspense  of  the  historic  conflict  in 
the  original.  The  same  may  be  said  of  the  entire  picture  as  com- 
pared with  the  first  version. 

Moonlight  and   Mardi   Gr.is. 

Ah,  di.  mi.  "Dixiana"  is  of  such  dullness!     Here  is  a  romantic 
musical  about  Xcu  Orleans,  the  Mardi  Gras,  a  duel,  with  suj 

oi  the  old  plantation,  gambling,  and  a  bride  unworthy  of  the 

planter's  sen.     In  tact  all  the  moss-grown  traditions  ni   Southern 
fiction  arc  employed,  with  a  song  now  and  then,  comedians  to  re- 
lieve the  operatic  heartbreak,  a  soubrette  to  help  them  along,  and  a 
lor  sequence  at  the  finish  to  make  you  think  you  have  spent 
an  expensive  evening.     But  everything  fails  to  disabuse  one  of  the 
ideas  that  it  is  all  only  mild  pastime,  even  though   Bebe,  Daniels  is 
:it   in  the   leading  role,   looking  handsome,   singing  well,  and 
in  air  of  legitimacy   to  the  proceedings.     She  is  a  music- 
hall   girl   of    Xew   Orleans   in   ante-bellum   days,   who   is    separated 
from  the  aristocratic  young  man  she  loves  by  his  unfeeling  parents. 
Then,  to  prove  her  love,  she  cheats  him  at   cards  to  protect  him 
from   his   villainous   rival   and   the   end   of    the   picture    finds   them 
united  for  a  life  of  bliss. 

It  is  all  quite  silly  and  Miss  Daniels  is  faced  by  the  enormous  task 

of  carrying  the   picture.   She    fails   in   this,   hut    succeeds   in   being 

charming  and  capable,  though  at  a  disadvantage  because  of  the  lack 

ich  music  as  "Rio  Rita"  provided.     Everett   Marshall,  baritone 

of  the  Chic;..  i  Company,  lends  a   fine  voice  to  the  hero's 

en  happens,  he  is  permitted  to  sing  too  little  and 

■  much,  the  latter  with  painful  results.     Bert  Wheeler  and 

not  as  funny  as  usual,  are  the  comic  relief,  aided 

by  the  pert  and  provocative  Dorothy  Lee.  and  Ralf  Harolde  is  ef- 

ive  as  the  tlorid  villain. 

A    Naughty    Dressmaker. 

i   Your  Back"   represents  a   g 1   idea  gone  wrong.     What 

might  have  been  a  light  and  entertaining  story  of  a  humble  dress- 
maker's climb  to  the  position  of  a  famous  modiste  turns  out  to  be 
the  uninteresting   saf  a  woman   who  couldn't  make  a  go  of   ii 

when  operating  ethically,  so  she  resorts  to  the  expedient  of  equip- 
ing  poor  chorus  girls  with  expensive  clothes  and  then  providing 
wealthv  adm  pay    for  them.      There   i>.   of   course,   the   in- 

evitable fashion  show. 

Miss  Rich  has  never  looked  lovelier  nor  acted  witli  less   fir. 
One  never  b<  v  a  person  make  such  a  point  of  being  happy 

in  drab   surroundings,   and    her   coyness    increases    as    the    picture 
! 
Raymond    Hackett,   as   the   son    for    whom    she    slaves,    and    the 
tic  H.  1'..  Warner,  of  all  persons,  as  a  -ui,rar  daddy,  are  miscast. 
Ilka  CI  me  <»f  her  customary  humorous  character- 

izations of  a  hard-boiled  chorus  girl  and  Marion  Shilling,  whose 
fresh  prettine-s  seems  wasted,  makes  the  most  of  her  opportunities. 

A   Musical   College. 

Think  of  the  silliest  collegiate  comedy  you  have  i  .  add  to 

it   music  and   musical-comedy   atmosphere,   and   you   have    "Good 

Quite  the  most  trivial  and  unreal  picture  of  college  life 

you  have  however,  redeemed  by  Bessie  Love.    Not 

that  she  is  able  to  make  it  entirely  entertaining,  but  at  least  she  puts 

If  across  versatile  actress  who  in  a  pinch   could   play 

Madame  X  one  night  and  little  Eva  the  next.     In  fact  all  I   found 

make  the   sight   and   sound   tolerable   was   the 

ve.     The  rest  of  it  is  a  rah-rah  hodge-podge 

trilling  in  pictures  of  coed  life.     But  if  it  gives  you  a 

thri!'.  •he  ancient  Varsity  Di  irmed  on  th<  then 

by  all  means  don't  pas 

this  picture  will  revive  memories  of  tunes  you  might  other- 
tlly,  I  don't  know  what  it's  about  except  that  two  j^'irls  are  in 
with  a  football  hero  and  i  him  in  the  end.     Besides  Miss 

ire  Cliff  Edward  ipworn  for  a  college  boy, 

but  pleasant  nevertln  .nicy  Smith,  as  a  Little  Lord  Fatintlc- 

ridiron,  Lola  Lane  and  Gus  Shy,  a  newcomer  from  the 
stage  who  1  name.  [Continued  on  page  98] 


"Good   News." 


mf/ijA 

wrAi        BV    m 

'Let's  Go  Native." 


'Follow  Thru.' 


"Three  Faces  East." 


Go 


TINS  is  a  personal  letter  to  you,  dear  Picture 
Play  readers,  to  tell  you  how  delighted  I  am  at 
your  own  pleasure  in  this  reading  of  names.  Our 
department  has  certainly  been  a  huge  success,  as  many 
of  yon  are  charming  enough  to  write  and  tell  me.  Every 
few  days  I  open  a  letter  that  says.  "You  can't  imagine 
how  much  I.  enjoy  the  readings  of  the  names  of  the 
'lucky  stars'";  or,  '"I  don't  see  how  in  the  world  you 
could  know  me  so  well"  ;  or — and  these  are  the  ones 
who  are  really  excited  about  their  own  names — "Please, 
can't  you  tell  me  more." 

T  should  indeed  like  to  tell  you  a  great  deal  more 
through  Picture  Play,  hut  you  would  realize  how  im- 
possible that  is  if  you  saw  the  thousands  and  thousands 
of  coupons  that  come  to  me.  The  informing  part  of  it 
is  the  fact  that  all  of  them  must  have  been  cut  from  the 
May  and  June  numbers  of  the  magazine.  I  can  just  see 
old  copies  being  retrieved  from  the  pile  that  is  meant 
for  thf  winter  furnace,  or  confiscated  from  little  brothers 
who  want  to  make  a  fortune  selling  waste  paper,  and 
little  sisters  eager  to  cut  out  the  pictures  of  the  stars. 

Now  all  of  you  who  do  receive  an  answer,  even  if  it 
does  take  a  long  time,  can  take  comfort  from  the  fact 
that  no  matter  if  it  is  brief,  it  is  correct,  and  applies 
directly  and  personally  to  you.  It  is  exactly  the  very 
first  thing  that  you  would  be  told  face  to  face,  in  a 
personal  reading,  or  would  learn  if  a  reading  were  pub- 
lished for  you  in  the  magazine.  The  points  you  learn 
are  the  most  important  factors  in  your  life  and  affect 
you  from  birth  to  death,  no  matter  what  else  may  happen 
or  under  what  circumstances  you  may  have  to  live. 

Most  of  the  coupons  are  very  carefully  filled  out  and 
their  senders  live  up  to  all  the  requirements.  But  there 
are  many  that  are  defective  somehow,  and  in  a  large 
number  of  cases,  especially  in  the  past  three  months,  I 
receive  names  with  or  without  a  birth  date  and  with  no 
coupon  at  all.  It  is  too  bad,  but  the  best  I  can  do,  if 
there  is  a  self-addressed,  stamped  envelope,  is  to  send 
the  slips  back,  explaining  that  there  must  be  a  coupon 
for  every  single  name  that  is  to  receive  a  reading. 

Think  of  the  deluge  I  should  otherwise  be  inviting. 
And  think  how  unfair  it  would  be  to  those  who  do  follow 
the  rules.  One  name — one  coupon  ;  two  names — two 
coupons :  three  names — three  coupons.  No  more,  no 
less! 

If  you  want  a  coupon,  just  send  the  price  of  a  copy 
of  Picn  rk  Play  to  the  Subscription  Department  of 
Street  &  Smith  Publications,  Inc..  70  Seventh  Avenue, 
New  York,  N.  Y.,  specifying  that  you  want  the  May  or 
the  June  number,  1930.  And  when  you  send  the  coupon 
to  me,  be  sure  that  your  full  name  is  there — not  Elsie  D. 
Parker,  but  Elsie  Dorothy  Parker — and  that  the  date  of 
birth  is  complete,  as  "May  15.  1909." 

\Youl<!  mi  believe  that  man}-,  many  people  forget  to 
put  down  the  year,  or  mention  two  different  years?  They 
say  the)  '  ive  forgotten,  or  were  never  sure.  Well.  T  don't 
blame  tin  in,  they  were  too  little  to  notice  details  like  that 
at  the  time!     But   I  really  can't  help  them  out,  can  I? 

Then  there  are  the  lovely,  perfect  coupons  that  arrive 


Tke  Mystery 

In   this   fascinating   department   will  be   found   an 
examples  of   its   influence  on  the   lives  of  the 

Bj  Monica 

minus  a  return  envelope,  or  minus  a  stamp  on  that 
envelope,  or  with  a  foreign  stamp  inclosed.  Not  one  of 
the  hopeful  senders  hears  from  his  coupon  again,  and  I 
do  feel  sad  about  it,  because  most  of  this  is  hurry  and 
forgetfulness.     Take  your  time. 

Those  readers — and  I  have  discovered  to  my  great 
pleasure  that  there  are  hundreds  of  them — who  live  in 
foreign  lands,  must  go  to  the  trouble  of  buying  an  inter- 
national correspondence  coupon  from  their  post  office. 
They  may  never  have  heard  of  them  before.  Neither 
had  I.  Well,  there  they  are,  to  be  bought  like  a  stamp 
and  inclosed  instead  of  a  stamp  in  a  letter  that  is  to 
receive  a  reply  from  a  different  country. 

Foreign  stamps,  whether  on  or  off  an  envelope,  and 
foreign  nickel  and  copper  coins,  are  of  no  use  to  me  at 
all.  But  I  feel  regretful  every  time  that  I  think  of  those 
readers  in  Hongkong,  Dublin,  Johannesburg,  Paris,  and 
Berlin  who  may  wait  for  their  replies  in  vain.  Nor  are 
these  large  cities  all.  There  are  coupons  from  all  kinds 
of  delightfully  out-of-the-way  places,  rectories  in  Sussex 
and  villages  on  the  Swiss  lakes,  and  every  one  of  them 
means  an  enthusiastic  reader  of  Picture  Play.  Some 
of  them  do  manage  to  send  American  stamps,  and  some 
send  silver  coins,  and  some  send  the  international  cou- 
pons, but  quite  a  few  are  bound  to  be  disappointed.  But 
I  do  hope  that  this  will  no  longer  be  the  case. 

I  am  not  mentioning  Canada  as  a  foreign  country, 
because  the  thousands  of  our  readers  who  live  there  are 
such  near  neighbors  to  us  that  they  seem  like  home  folks, 
but  they  have  the  same  stamp  problem  to  deal  with  as  if 
they  lived  in  New  South  Wales. 

Last  in  the  list  of  derelicts  come  the  coupons  with  the 
right  stamp  and  the  right  envelope,  and  no  reason  why 
they  should  not  be  read,  except  that  I  cannot  read  them 
— literally!  The  writing  is  partly  illegible,  or  smudged 
and  crossed  over  and  spoiled.  Now  nobody  can  help 
ruining  a  coupon  once  in  a  while,  but  in  that  case  inclose 
with  it  a  new.  clean  slip  on  which  you  have  rewritten  the 
required  information.  Then  I  shall  know  that  you  have 
certainly  done  your  best. 

Almost  all  of  you  are  very,  very  sensible  in  the  ques- 
tions you  do  ask.  although  1  admit  that  I  cannot  answer 
any  questions,  except  in  a  published  or  a  private  reading. 
But  I  do  have  to  smile  when  a  dear  little  girl  asks  hope- 
fully— and  I  am  sure  that  she  believes  I  can  give  her  an 
answer — "Please,  where  are  my  pearl  beads?" 
Continued  on  page  104 


ft 


■'S 


& 


of  Your  Name 

explanation    of    the    science    of    numbers.      Besides 
stars,  the  names  of  readers  are  also  analyzed. 

Andrea   Shenston 

What   Dolores  del   Rio's  Name  Tells 

YOU  are  Lilith,  dear  Dolores,  Lilith,  the  first  wife 
\dam.  but  you  have  also  hidden  away  within 
iter  wisdom  of  Eve. 
it  an  unconscious  power  to  draw  men,  so  that  they 
>ur  subtle  emanation  as  the  tides  ri-e  to  the  cycle 
the  moon!     What  a  silent,  mysterious  force  to  hold 
them,  a  secret  that  the  wisest  cannot  penetrate!    And  yet 
what  a  charm  and  vivacity   for  all  men.  the  expression 
of  a  nature  intensely  attuned  with   love  and 
beauty  and   burning  with   the   blaze   of   the 
within ! 
Ti  -  always  in  your  path,  the 

shad  alls  that  cut  oft  your 

way.     1-  ur  activity,  you  have  the 

birth    path   of    silence   and    waiting,   and 
continual  ••  me.    But  your 

hear-  rn  fortress  that  refuses  to  be 

I  by  enemies  without  or  within,  and 
there  are  hidden  places  in  it  that  you  have 
never  yet  penetr  ie  full. 

Y<  u  I  I  what  -  you  a 

time  fighting  your  way  out  of  this  dark 

ce.  but  with  the 
w  advance  of  a  little  smoldering 
fire  ay  through   the   heart 

wall 

A  \<r  -.1  intuit 

chief  qu 
child  you  had  the  delightful  quaintm 

in  a  charming  little  human  form. 
You  will  fully  thr 

complete  spontaneity.    Y 
liehave  in  any  other  w: 

ther  race  in  bal- 

ance and  making  up  each 

tin*  "That  and 

u  want 
and  •  [seven  at 

another,   wh]  -ange  to   say.   it 

You    are    excee  -ive.    imaginative, 

emotional,  and  while  you  like  to  pretend  that 
are  a  rap  for  the  opinions  of  oth< 
iuch  for  them  if  good,  and  worr 
;h  about  them  if  bad.  that  you  are  in  a  con- 


— 


stant  turmoil.    All  an)  one  has  to  do  is  to  say,  "This  is 
the  right  th  d  you  think,  "Oh,  I'm  sure 

it  is'"     Bul  it  works  very  badly  indeed,  and 

your  gn  materially,  emotionally,  and  spiritu 

ally,  is  a  wry  wise  and  ver)   strong  hand  to  control 
ratlu  de  you. 

But  what  a  lover  you  are!  No  gentle  smile,  no  light 
touch,  no  quiet  holding  of  hands  will  satisfy  you.  You 
pour  out  your  devotion  like  a  torrent,  whether  in  love 
or  friendship,  and  you  a-k  for  the  same  warm  expression 
in  return,  lint  you  are  also  the  kind  who  never  grows 
entirely  cold  to  old  friends,  and  when  your  ardor  I 
died,  as  it  ^}"C^.  you  are  still  charming,  and  no  real  lik- 
ing you  have  felt  can  ever  die.  You  an-  as  iikch 
not  to  burst  in  upon  an  old  friend  you  have  almost  for- 

ten  for  a  year,  with  new  devotion,  just  because 
have  suddenly  remembered  her  distinctly  in  contrast  with 
recent  disappointments  that  you  have  felt. 

In   little   things,    on    the    other    hand,    von    are    easily 
chai  regular  April  day  of  smiles  and  tears.     No 

matter  what  misery  you  are  in,  a  little  love,  a  little  kiss 
can  rai<e  you  to  the  skic-.  A  pretty  dress,  a  dinner,  a 
dance,  a  drive  in  the  moonlight,  and  sorrow 
is  forgotten — until  the  next  day.  Then 
row  may  he  more  hitter  than  'ever,  hut  joy 
was  there,  just  the  same. 

There  was  a  great   deal   of  trouble  around 
you   during   the    first    two  years   of   your    life, 
and  you  were  not  a  strong  child  at  all. 
lint  by  the  age  of   four  you  wen 
tive  and  wiry  and  very  bright.     When 
you  were  about  seven  there  was  some 
one  in  your  home  who  was  very   ill. 
near  death,  in   fact,  but  I  believe' that 
he  did   survive.     When  you  you 
were  thirteen  or  so,  you   fell  or  hurt 
yourself    in    some    way,    so    that    the 
lower  part  of  your  back   was  not   as 
strong  as  it  should  be  for  about  three 
rs. 
You  were  always  full  of  a  practical  idea  of 
love,  as  well  as  romantic  emotion,  and   u 
you  had  a  choice  of  two  men  at   Last,  at   thi- 
ol"   seventeen,   you   chose   the   one   who 
led  able  to  give  you  the  most,  alt!: 
a  good  derd  older  than  you.     And  : 
marriage,    Dolores,    very    soon   after,    thi 
went  all  to  pieces!     You  had  everytl 
wanted,    and  than 

before. 

The  vibrations  of  your  name  after  ma- 
took-  away  from  you  a  good  deal  of  that  v 
derful   intuition,   but   on   the  other  hand   they 
made    you    much    more    of    an    artist.      You 
found  a  joy  in  tl 


You  will  find  life  much  more 
peaceful,  Dolores  del  Rio, 
but  there  will  always  be 
music,  dancing,  and  loving 
wherever  you  arc. 


■on  of  beauh  thai 

you   had    • 

1<i| 


68 


Photo  by  Hruno 


Arthur  Lake  and  David  Rollins  wrestle  on  the  beach  with  the  abandon  of  healthy  puppies. 


Meet  Those  Baby  Bachelors 

Though   you   know  their   fine  work  on  the  screen,    this  sympathetic  article   describes  the  viewpoint  as 
well  as  the  pastimes  of  a  group  of  younger  players    whose    kinship    to    youth    everywhere   makes    them 

human  and  understandable. 

By  Myrtle  Gebhart 


WANT  a  date  with  a  baby  bachelor?  O.  K.,  you 
cradle  shatcher,  I'll  negotiate  and  call  you  back. 
I'ark  and  await  the  next  reel.  Or  would  you 
rather  preview  a  trailer  of  our  demi-tasse  stimulants  be- 
fore you  add  your  phone  number  to  the  list? 

You'll  have  to  be  some  cookie,  if  the  idea  of  stepping 
out  on  the  merry  ha-ha  with  one  of  Hollywood's  juvenile 
elect  has  lodged  in  what  passes  for  your  brain.  A  flat 
tire,  to  our  knaves  in  knickers,  is  just 
so  much  hooey,  as  archaic  as  mum 
movies,  flappers,  and  "It." 

They  take  the  bonbons  and  bitters  of 
life  at  high  speed  and  with  ravenous 
gulps,  hut  regard  the  troublesome  sex 
with  philosophical  detachment.  Minia- 
ture Circes  are  preferred,  cool  peaches- 
and-cream  ideals  instead  of  bonfires, 
when  they  crave  company  in  their  low- 
necked  speedsters.  Vamps  are  just  so 
much  cold  tea,  they  sneer,  though  I've  a 
suspicion  they  are  a  trifle  embarrassed 
at  even  the  thought  of  an  amour. 

They  aren't  an  organization,  thanks 
be.  Hollywood  has  a  club  on  every 
corner.  They  arc  too  busy  with  acting, 
eager  to  get  ahead,  and  too  occupied 
with  autographing  life  in  large  flour- 
ishes, to  waste  precious,  golden  hours 
on  tiresome  red  tape.  They  are  just  an 
aggregation  of  kindred,  buoyant  spirits 
that,  through  that  irresistible  attraction 
of  youth,  gravitate  together. 

Anybody  who  can't  contribute  a  lot 
of  humor  to  their  informal  soirees  is 
absolutely  minus;  these  junior  trouba- 
dours can'l  bother  to  raise  wrinkles. 
unl'  likely  to  prove  worth  while. 


Stanley  Smith,  an  apostle  of 

correctness   and   serious- 

mindedness. 


T^ 


So  you'll  have  to  he  prettier  than  Mary  Brian,  their 
chronic  honey,  more  ladylike  than  the  exquisitely  man- 
nered June  Collyer,  more  demure  than  Marguerite 
Churchill,  more  fun  than  Dorothy  Lee  of  the  vest- 
pocket  voice.  //  you  combine  all  these  essential  qualifica- 
tions to  a  superlative  degree,  you  may  get  a  break  with 
these  jaded  juveniles  of  countless  beach  parties. 

After  sifting  the  matter  to  a  gnat's  eyelash,  however, 
my  mind  is  hung  on  a  question  mark's 
hook.  "While  some  have  proved  weak 
creatures,  the  majority  give  the  panics 
the  go-by,  their  main  concerns  being  the 
attainment  of  success  and  as  much  noise 
as  possible,  at  both  of  which  endeavors 
they  click  up  surprising  records. 

And  you  might  be  disappointed.  Xo 
frenzied  love-making  for  these  sheikies. 
They  treat  the  current  spasm  to  hot 
dogs  and  pop,  or  do  the  Venice  conces- 
sions, amid  much  horseplay. 

We  shan't  include  in  this  solemn  con- 
ference those  old  guys.  Charlie  Far- 
rell  and  Charles  Rogers,  or  Barry  Nor- 
ton, who  is  twenty-five,  or  the  comical 
Jack  Oakie  and  Stuart  Erwin.  Time 
for  them  to  be  taking  up  golf  seriously, 
and  inquiring  as  to  the  merits  of  hair 
tonics,  and  reviewing  their  lives  with 
that  melancholy   retrospect  of  age. 

We're  roll-calling  the  boy  friends  of 
Hollywood's  real  baby  starlets.  You 
spot  them,  clad  in  white  flannels  and 
sweatshirts,  dusting  the  highways  in 
their  roadsters.  Indeed,  you  can't  miss 
them,  attacking  the  waves  with  youthful 
vigor,  or  making  pretty  speeches  that 
they    got   out   of    movies    to   the    beach 


•*W*e 


Meet  Those   Baby   Bachelors 


09 


blossoms— behind  a  wink.  Their  shouts  ring  out  from 
tipsy  surf  boards,  over  ping-]  res  or  coffee  pot 

replies,  in  excited  quarrels  over  games  of  volley  ball 
or  on  ilu-  pygmy  golf  coursi 

They  remove  chairs  suddenly  as  pompous  dignit)  is 
about  to  sit;  they  blow  up  balloons  and  let  them  die 
out  a|  >ur  startled  ears  in  Strang  s.     rhey 

wire  sofas  with  electric  currents  and  chortle  over  your 
embarrassment.  At  their  moonlight  beach  picnics,  they 
harmonize  around  the  fire  in  tunes  most  enjoyed  In 
the:  they   pile   into   Arthur    Lake's  motor   boat, 

thetically  named  the  Gedunk  Sundae,  and  leave  for 
distant  — invariably  showing  up  at  dinner  time 

with  ravenous  appetites.    How  they  do  stow  food  away! 
Several  belong  to  the  Thalians,  that  club  of  young 
Thespians   vitally   concerned   with   the   higher  art   ol 
having  a  good  time.     The  Thalians  started  out  with 
i  being  highbrow  and  instructive,  or 
something  equally  portentous,  but  the  idea,  fortunately, 
misplaced.     Concentration  and  Guggenheim  are  so 
much  more  fun,  with  twenty  qu<  as  a  corker  for 

''.s. 
They  a-  :•>  you,  if  the  occasion  suggests  the 

isability  oi   it.   such  as  an    interview,  hut   they'll   he 
darned  if  they'll  apple-polish  you. 
You  take  'em  rough — and  like  'em. 
They  get  up  impromptu  parties  at  their  homes,  leav- 
ing things  in  considerable  melee  after  hectic  failles  of 
murder,   anagrams,   and    charades.      They   threaten    all 
ations,  hut  if  you  are  discreet  you 
will  1  your  breath  awaiting  the  materialization 

•his  hinted  diablerie.     For  special  events,  they  doll 
up  in  the  tuxedo  and  take  the  semisiren,  with  a  grand 
a  capital-letter  premiere,  or  to  the  Coconut 
to  mingle  with  the  stiff  shirts,  horribly  embar- 
rass ^reat    men    notice    them    and    shake 
hands,  •             but  red-faced  when  a  bystander  ro|ih-:- 
an  autograph.    Almost  bursting  with  pride  recently,  when 
me  mentioin-d  approval   of   his  work   in   a  new 
film.  Arthur  Lake  beamed  and  admitted.  "You  know. 
•.'re  the  third  friend  who  has  spoken  of  liking  that  !" 
Thev  are  a  clean,  fun-loving  hunch  of  kids,  each  inter- 
by   right   of    personality,   each    a    potential    star. 
they    aren't    particularly    excited 
though   none  is  actually   against   the 

weaknesses,  and   some   are   not  in- 
ie  mysterious  dramatic  possibilities  of  a 
"blind  w  and  then,  provided  the  young  lady's 

charm  is  highly  recommend) 

Th<  their  "oil  cans."  which  look  as  if  life  were 

bar     '  m,  if  not  to  their  owi  h,  where 

they  take  to  the  water  sports  in  noisy  exuherance.     They 

■     the     new     ice-cream     emporiums 
vv',..  ed   in   your   car.      Their 

outburst  often  un- 

intelligible   to    the    more    mature    twei 
T!.  •  r  concoctin 

ing  in  practical  jokes  and  imitations  of  Hol- 
ly* 

that 

jerk  the  crowd  in- 

rihald  laughter. 

Th.'  not 

drink,    as    a    rule. 

the     occasional 

cktail    tern: 

n     into     which 

they   fall  being  a 

rather 

of   "life."     T' 
next-morning  con- 
trition   bri 


William    Bakewell    is    always    the    ringleader    in    any    kind 

of    fun. 

welcome  rebirth  of  faith  in  the  younger  generation's  in- 
herent fmeiH-s  and  which,  incidentally,  must   he   viewed 
with  the  solemnity  such  a  transgres- 
sion merits. 

They     are     refreshingly     mo 
and  regard  the  older  actors  like  No- 
varro  and  Colman  with  awe,  and  are 
intensely  ambitious  to  sua 

It   is   easy  to   see   in   this   juvenile 
coterie  the  kid  types  of  any  small 
town,    except   that    their  clothes   are 
snappier,  their  cars  tm 
rakish     or     adorned     with 
more  eye-blinding  de\ 
They  are  Gopher   Prairie 
grand. 
I  'icture  them  in  an  aver- 
age townlet.     Billy   Bake- 
well,  you  know  right  off, 
WOUld    he    the    ring- 
ler  who  exclaims, 
"Wait'll  I  throw  the 
old    bean    into    high 
'iow  far 
n  go  on  a  gallon 
of   thought,"  and.  as 
-nit,     (!< 

•   bound  to  mean 
idcrable 
■ 
before  tl 


Bruce    Rogers,   brother    of    Buddy, 
says    that    his    aim    is    tragic    emo- 
tionalism. 


70 


Meet  TKose   Bab}?  Bachelors 


Photo  by  Thomas 

Russell  Gleason  is  one  of  the  few  baby 
bachelors    who    has    a    steady,     Mar- 
guerite Churchill. 


over.  Stanley  Smith,  on  the  other 
hand,  would  he  conducting  the  glee 
club  and  starting  those  uplifting 
movements  which  the  others  would 
follow  with  periodic  enthusiasm. 

Frank  Albertson?  Wouldn't  he  he 
going  to  see  the  chamber  of  com- 
merce about  building  a  scaffold  for  a 
new  ski  jump,  or  about  staging  a 
civic  show  on  the  lake,  in  which  event, 
naturally,  they  would  all  take  part? 
Frank,  by  prior  claim  of  personality, 
would  take  charge  of  such  thing--. 
Frank  with  his  serious  aims  expressed 
in  flippant  wisecracks,  as  hefits  a  go- 
getter. 

Since  he  has  grown  up  to  man's 
estate  of  twenty-two.  William  Jan- 
ncv  deplores  the  perennial  youth 
which  restricts  him  to  brother  roles. 
when  the  growing  pains  in  his  ambi- 
tion urge  him  to  a  nobler  delineation 
of  life.  In  "Carnival,"  they  did  rec- 
ognize hi--  maturity  by  casting  him  as 


VIhiIh    In     Joni  I 


a  college  youth,  and  not  brother  to  anybody!  Quite 
adult,  indeed — didn't  he  love  a  sophisticated  show- 
girl who  committed  suicide  because  of  his  infatua- 
tion? Ma,  that  was  showing  Lowell  Sherman  how' 
"Little  Brother"  won  his  title  by  his  realistic 
characterization  with  Alary  Pickford,  in  "Co- 
quette." But  the  producers,  seemingly,  couldn't 
grasp  the  fact  that  he  was  merely  acting.  They 
had  the  ridiculous  notion  that  he  was  just  beinu 
himself. 

This  Billy  never  had  a  sweetheart.  That  P. 
not  since  he  grew  up  and  got  a  proper  perspec- 
tive on  things.  In  those  distant  childhood  days 
when  they  attended  a  school  for  professional 
children  in  New  York,  he  wove  dreams  around 
a  fellow  pupil,  Ruby  Keeler. 

"She  must  have  forgotten  all  about  me,"  he 
shrugs,  "because  she  married  Al  Jolson." 

I  wonder  if  brooding  over  this  shattered  ro- 
mance caused  him  to  lose  weight  to  the  alarming 
state  that  now  he  must  drink  milk  and  cream  in 
an  effort  to  acquire  ten  pounds?  It  hardly  seems 
likely,  though,  for  he  is  engrossed  in  his  art.  He 
admits  admiration  for  Alary  Pickford,  but  thinks 
all  the  girls  he  knows  "lack  something."  He 
didn't  say  what.  Maybe  he  hasn't  figured  out  in 
what  the  discrepancy  hetween  a  fellow's  ideaP 
and  the  actuality  consists,  or  else  he  is  just  a 
gentleman. 

He  lives  in  an  apartment  with  his  mother, 
takes  her  to  the  movies,  drives  his  car  with  a 
degree  of  carefulness,  and  is  bent  on  self-im- 
provement. Spare  moments  are  whiled  away 
listening  to  Mary  Pickford,  Richard  Dix,  Conrad 
Xagel,  Richard  Barthelmess.  and  Monte  Blue,  all 
recently  hatched.  The}-  are  his  canaries,  named 
for  his  favorite  big  sister  and  brothers.  His 
mother  banks  his  salary.  He  can  have  whatever 
he  wants,  anything  that  is  within  reason,  but 
living  at  the  beck  and  call  of  some  jitney  Juno 
doesn't  appeal,  so  when  a  lilting  voice  trills  his 
name  over  the  phone  he  disguises  his,  practices 
will  power,  and  insists  deeply  that  Mr.  Janney 
is   out    for   a   very   important   engagement. 

Arthur  Lake?  Can't  you 
picture  him.  without  over- 
working the  mental  equip- 
ment unduly,  parked  at  the 
soda  fountain,  wrecking  one 
malted  milk  after  another?  A 
freckled  Arthur,  declaiming 
vociferously,  with  "Gees  !"  and 
"Goshes !"  imaginary  exploits 
and  conquests,  but  shying  at 
the  actual  swish  of  a  skirt? 

That  bashful  baby  has  his 
tribulations  in  a  studio  where 
sophistication  is  the  theme 
line.  It's  a  joy  to  watch  him 
being  interviewed  on  that  be- 
wildering subject  of  love. 
Enveloped  in  serious  consid- 
eration, he  squirms  when  other 
actors  from  near-by  tables  in 
the  commissary  call  out  help- 
ful hints  or  '  ask  confusing 
questions,  until  the  poor  lad  is 
involved  in  a  splutter  of  ex- 
planation and  self-defense. 

s  Ayres  is  scared  of  parties  and 
remains  aloof  from  group  activities. 


Meet  Those   Baby   Bachelors 


71 


'Ever  have  a  dangerous  experience: 


Nick 


f> 


Stuart  calls,  and  An  shuffles,  his  face  flaming 
into  a  tomato  sliced  by  a  weak  grin. 

"Aw,  luck,  let  up,  folks,  won't  you?"  he 
seriously. 

They  don't  mean  to  be  unkind,  nor  are  they 
unforgetful  of  the  pains  oi  adolescence  which 
sonic  \^\  them  have  left  behind  not  ever  SO  long 
It's  just  that  Arthur  has  a  genius  for 
blundering  when  he  discusses  that  portentous 
subject,  life,  and  its  equally  disconcerting  trib- 
utary, love. 

When  he  final'..  rained  up,  he  rattles 

off  that  he  has  two  girls,  his  ma  and  his 
Florence,      lie   has   taken    Mary   Brian   places, 
hut    that's    no    solitary    honor.      Mary's    smile 
beckons  a   fraternity.     If  it  isn't  Arthur,  it's 
•s.    or    Billy    Bakewell,    or    Phil 
•nes.  and  for  a  time  it  was  Rudy  Yallee. 
thur  is  twenty.     His  pal   is  Billy  Bake- 
well.     Boys  don't  like  that  word  Pollvanna.  hut 
what's    the    masculine    for    the    bright    child? 
Anyway,  Arthur  is  indubitably  it — a  dear  kid. 
-   ■   live  as  any  youngster  oi  the  bucolic  by- 
ways.     He  is  the  eternal  spirit   of  youth — the 
kidding,    mischievous,    impetuous    youth    hung 
witli    opalescent    dreams,    too    weird    and    too 
beautiful    for  words.      His   merriment  bubbles 
continually,  until  one  touches  on  the  disti 
ing  topic  of  love. 

He  was  born  in  Corbin,  Kentucky,  but  didn't 

I  long  enough 
rust.  The  Silverlak 
toured  most  of  the  vaude- 
ville routes,  a  lap  of  lux- 
ury f«.r  even  a  six-a-day 
mied  at  times,  and 
caravaned   in  tent 

-     the   mak 
shifts  fit  car 
doing   one- night 
stan'.  hi  as 

he  could   wabble 
out    on    unst 

rutted 
-tuff  in  the 
act.  sold  tickets 
and  candy,  and 
learned  to  maul 
the  drums.  At 
intervals,  he  w 
interned  in  school,  but 
man:.  survive,    not 

noticeably   any   the   worse 
for  the  experience. 

The    tall    and    gangling 
blue-eyed   boy   established 
al   as 
well  mal,  in  "Har- 

and   probably 
will    continue    in    many    a 
e  puppy  love- 
that  •  atur- 
alm 

the  meager  fif- 
-dollar-a-week    allow- 
ance from  his  salary  per- 

William  Janney 
names  his  canaries 
after    stars    he    has 

played  with.  pm*  t>/ Bin 


Frank    Albertson's    wisecracking    in    company    conceals    a 
serious   mind. 

mitted  by  his  financial  manager,  Ribsdl  Gleason  finds 
life  a  pleasant  journey.  Me  can  entertain  in  a  home 
where  fun  rules.  Everybody  has  a  grand  time  at  the 
Gleasons'.  I'pon  attainment  of  his  majority  last  year, 
he  was  given  his  own  suite,  with  private  stairway,  mak- 
ing him  feel  to  an  extent  on  his  own. 

His  weekly  pittance  allows  no  budgets  for  orchids,  but 
serious-minded  Marguerite  Churchill  isn't  registering  any  kick. 
She  doesn't   care  to  do  marathons  around   town. 

A  dark  chapter  in  Russell's  life  must  be  recorded.  Once  be  was 
hopelessly  in  love  with  Phyllis  Haver,  who  married  another.  The 
boy  bad  that  high-and-dry  feeling — for  several  days.  He  con- 
soled himself  by  sending  the  bridal  wreath  of  orange  blossoms 
from  bis  own  tree  in  the  Gleason  garden,  a  retaliation  which 
offered  a  certain  lugubrious  solace.  His  recovery  was  sudden 
and  thorough — when  he  met    Marguerite. 

Billy  Bakewell,  despite  his  twenty-two  winters,  has  not  acquired 
a  bla.se  manner.  Life  is  his  own  pet  cookie.  There  are  too  many 
interesting  things  to  do.  and.  once  in  a  while,  a  great  adventure 
like  meeting  Cabin  Coolidge,  and  those  location  journeys  to  An- 
napolis and  Wesl  Point.  Epochal  events,  and  you  must  not 
rate  their  memory  by  failing  to  register  sufficient  awe.  But 
when  the  gang  gets  together  informally.  Billy  puts  on  Barryi 
burlesques  that  are  choice,  and  his  impersonation  of  Harry  1  ■ing- 
don  is  virtually  art. 

Frank  Albertson's  happy  disposition  clothes  a  steady  determina- 

tioued  on  page   ]  15 


72 


The  Trouble  \tf  itk  Being  a  Lady 

It  is  really  a  handicap,  this  having  such  a  reputation  to  maintain,   Kay  Johnson  asserts,  and  she  tells 
how  she  has   had   to  steel   her   nerves  against  her   emotions    while    stars    not    catalogued    as    ladies    felt 

no  scruples  about  cussing  out  a  studio  crew. 


By   Edwin   Schallert 


_    llurrel 


A  DeMille  discovery,  Kay  Johnson  lends  vocal  distinction  to  society 
films  comparable  to  Gloria  Swanson's  pantomime. 


EXCLUSIVE  of  a  few  singers,  male 
and  female,  there  are  just  three 
voices  in  the  talkies.  And  when  I 
say  voices  I  mean  voices! 

There  is  the  suave  musical  one  of  Ruth 
Chatterton ;  there  is  the  dulcet,  velvety, 
and  sonorous  one  of  Ann  Harding,  and 
there  is  the  exquisite  chiming  voice  of 
Kay  Johnson. 

These  arc  among  the  first  real  phe- 
nomena of  the  talking  screen.  They  give 
us  a  thrill  that  was  never  known  in  the 
silent  movies.  They  achieve  that  won- 
drous thing  known  as  word  coloring. 

Of  these  voices  I  sometimes  think  that 
the  most  enchanting  is  Miss  Chatterton's. 
One  turns  almost  immediatelv,  though,  to 
the  reposeful  quiet  of  Ann  Harding's. 
But  then,  ah  then,  what  is  one  to  say  of 
the  exotic  charm  and  overtones  of  Miss 
Johnson's   syllables? 

Hers  is.  after  all.  the  vocal  cord  raised 
to  a  high  degree  of  perfection.  For  less 
than  either  of  the  other  two  is  she  a 
screen  type  in  the  old  sense  of  the  word. 
And  therefore  greater,  perhaps,  is  her 
victory  in  aural  films. 

Kay  Johnson  is  not  a  beautv  in  the 
conventional  movie  sense.  She  is  a  vastly 
attractive  girl  to  meet.  She  holds  you 
with  her  magnetism  and  insnares  you 
with  a  radiance  of  sound  echoing,  even 
after  you  have  left  her.  like  the  tinkle 
of  a  crystal. 

As  yet  Miss  Johnson  has  played  in  but 
one  effective  picture.  This  was  Cecil 
DeMille's  "Dynamite,"   her   first. 

DeMille  chose  her  for  this  because  she 
"talked  and  acted  like  a  lady."  She  was 
playing  on  the  stage  in  Los  Angeles  when 
he  saw  her.  One  of  his  scouts  had  seen 
the  play.  "The  Silver  Cord,"  by  Sidney 
Howard,  and  suggested  that  DeMille 
"look  over"  the  rather  tall  girl  who  was 
appearing  as  a  rebellious  daughter-in-law. 

It  didn't  sound  altogether  promising, 
but  DeMille  went  to  look  and  listen.  He 
had  searched  all  Hollywood  for  a  suitable 
heroine  for  his  new  society  opus.  There 
was  none  who  fitted  all  the  requirements. 

DeMille  saw  only  an  early  scene  in  the 
first  act,  and  his  mind  was  made  up. 
1  lere  was  the  find  he  wanted.  There  was 
something  in  the  way  Miss  Johnson  acted 
during  a  comparatively  unimportant  epi- 
sode that  captured  him — a  note  of  refine- 
ment and  quality. 

In  "Dynamite"  Kay  Johnson  made  her 
debut  as  a  society  girl.  For  contrast,  she 
was  casl  opposite  the  burly  and  explosive 
Charles  Bickford.     There  wasn't  a  shred 


The  Trouble  \tfitk   Being  a  Lad>> 


73 


of  reality  to  the  romance  between  tho  two,  but  somehow 
other  Miss  Johnson  succeeded  in  carrying  off  her 
if  the  performance  with  high  honors. 

The  critics  praised   her  intelligence  and   her   polish. 

ic  even  wont  so  far  as  to  identify  her  as  a  ran'  and 

utiful  picture  type.     lVMillc  himself  observed  that 

>na   Swanson  of   voice,  having   in  her 

.   quality    to   parallel    the    Swanson    pantomimic 

ability  in  the  silent  drama. 

unite"  Miss  Johnson  has  been  seen  in  two 
cr  mediocre  program  pictures.     More  recently  she 
has  finished  playing  the  heroine  in  "The  Spoilers,"  and 
to  dazzle  under  the  DeMille  guardianship 
n  in  tin  ular  "Madam  Satan."     For  this  last 

led  Only  alter  due  consideration  of  other  can- 
didates.     DeMille  wanted   to  be   sure  that   his  discovery 
lor  a  film  which  demanded  pictorial 
effulgence,  as  well  as  vocal  harmony.     The  costumers 
provided  th<  and  Miss  Johnson  qualified 

in  both  visual  ami  aural  aspects.     It  is  expected  she  will 
a  renewed  hit  in  this  elaborate  production. 
Kay   Johnson  is  vital,  real,  and  a  very  delightful  pcr- 
Her  hair  is  light  golden.     She  is  not  as  tall  as  she 
ns  to  he  on  the  screen.     She  has  the  air  of  sophistica- 
tion, blended  with  animated  youthful  vibrancy. 

She  was  newly  married  when  she  came  to  California 
and  had  given  up  all  intentions  of  pursuing 
her  *.  .her  on  stage  or  screen.     She  is 

the  wife  of  John  Cromwell,  who  dir 
Paramount,  and  who  w  for  the 

-  he  presented  in  the  theater. 
Kay  met  him  when  she  was  rehearsing  for 
a  play  in  the  East.     She  stood  in  awe  of  him 
beca  sition   and   his   efficiency. 

was  almost  overwhelmed  when  he  asked 
her  to  lunch  with  him  one  clay.     She  didn't 
have  the  least  idea  oi  what  to  talk  about, 
hut  somehow  she  managed  to  survive 
Then  she  came  to  Los  Angeles  for  a  visit. 
mwell    was    appearing    there    in    "The 
ket."   and   she  went   to   see  her    former 
director  act.     B  the  theater. 

had   thought  hack    stage   to   see 

mwell,  ;.  ratulate  him  on  his  per- 

formance.    When  the  final  curtain  fell,  she 
decided  she  wouldn't,  and  she  and  her  com- 
panion started  away. 

;  ie  altered  her  intention  again  hefore  they 
got  halfway  up  the  aisle.     "Yes,   I'll  do  it." 
told  her  "No,  I  won't,"  she  ex- 

claimed when  >he  reached  t'.  door. 

She  admits  to  about  nine  or  ten  changes  of 

mind  in  half   as  many   minutes,  and    finally, 

after  she  had  entered  a  taxi,  she  succeeded  in 

making  her  choice  to  the  accompaniment  of 

her    companion's    wrath,    protestations,    and 

>ion. 

When  she  did  knock  on  the  door  of  Crom- 

we!.  room,  and  he  came  out  with 

his    face    still    smeared    with    make-up.    tiny 

both  knew  that  they  were  in  love  with   each 

other.      Later    they    were    married    in    Xew 

rk,     and     immediately     dashed     westward 

in,    where    Cromwell    had    to    work    in    a 

picture. 

mance  is  as  much  like  her  as  anv- 
thii  has  a  flamelike  way  about  her — 

a  flame  caught  in   fitful  f  mood 

perhaps,  hut  burning  steadily  >'. 

can't  compromise  willingly.     She  wants 

do  things  thoroughly.     And  she  is  a  very 

But  when  tcertain  about 


tile  character  01    a  role,  or   picture 
moodiness   pervades   her. 


i 


or  anything,  sudden 

She  didn't  like  coming   in  at   the  last   minute  in  "Bill) 
the   Kid."    for   instance,   to  assume   the   leading    feminine 
role.      She   felt   that   she  could   not   get    into  the  spirit   of 
the  picture  fully  at  that  time.     However,  M.  G.-M.  de 
sired  to  have  her  in  the  part,  because  it  was  necessary  to 

build  up  the  picture  with  an  actress  who  had  the  <|iialifi- 
cations,  and  who  was  also  acquiring  a  l>"\  office  follow 
ing.     Hesitantly,  therefore,    Kay   proceeded,  hut    with 
every  evidence  of   sportsmanship. 

The  secret  of  Kay's  voice  is  no  mysterious  one. 
"Max he  1  acquired  it  playing  hoys"  rok-,  in  our  amateur 
theatricals,"  she  smilingly  told  me.  She  was  horn  at 
Mount  Vernon,  Xew  York,  and  educated  at  Drew  Semi- 
nary. Also  she  had  a  course  at  Sargent's  school  of  dra- 
matics. It  may  hi'  noted,  incidentally,  that  she  comes  of 
a  very  good  family.  Her  father  drew  attention  as  the 
designer  <>t  the  Woolworth  Tower. 

"It  sounds  foolish  to  say.  perhaps,  but  if  I  have  an 
attractive  voice,  then  it  must  he  God-given,"  .she  con- 
tinued. "I  haven't  lavished  any  more  care  on  it  than 
seemed  absolutely  necessary.  I've  studied  singing  with 
Mrs.  Major,  hut  only  since   I've  been  in  California. 

"I  do  know  this,  that  I  always  live  iii  dread  of  losing 

my  voice.    And  I  actually  did  lose  it  several  times  on  the 

Stage  while  playing  a  screaming  scene  in  'Crime.' 

I'll  tell  you  about  it,  only  I  think  it  is  a  terribly 

long  story. 

"  '<  rime'  was  such  a  different  play  from  any 
that  I  had  appeared  in.      I  had  always  hem  cast 
in  the  more  ladylike  parts,  and  here-  1  was  doing 
the    role    of    a    hard-boiled    gangster's 
sweetheart.    Al  Woods  didn't  believ<    I 
could  play  the  part,  hut   Sam   Shipman. 
the  author,   felt  differently  about  it.  and 
they  gave   me  the  oppor- 
tunity. 

"First    of    all,    the    pro- 
fanity that  I  used  shocked 
staid    Philadelphia,  and 
some   of    the    newspapers 
criticized  me   for  enacting 
such  a  role.     Then   when 
we  went  to  New  York,  I 
found   that   the   screaming 
scene  in  the  play  was  be- 
ginning to  tell  on  me.     I 
was   supposed   to  go  off- 
stage,   and    upon    viewing 
the  body  of  my  lover,  who 
had  been  killed  by  his  fel- 
low  gangsters,   to   emit    a 
blood-curdling  shriek. 
"I  did  my  shrieking  as  usual  one  night, 
and  when   I  came  hack  onto  the  Stage,    I 
couldn't    speak    even    in    a    whisper.      My 
•  voice  was  gone. 

"I  went  to  see  a  doctor  the  next  day. 
and  he  told  me  I  would  have  to  leave  the 
stage  for  weeks,  maybe  months.  The  prospect 
wasn't  pleasant,  hut  I  decided  it  was  the  only 
thing  to  do.  and  went  away  to  a  lake  r 
and  rested. 

"Then,  just  hefore  the  play  was  leaving  Xew 
York,  Mr.  Woods  asked  me  whether  I  didn't 
think  I  could  come  hack  for  the  Chicago  open- 
ing. My  voice  seemed  much  better,  so  1  told 
him  that  I  would,  lie  asked  me  to  play  one 
final  performance  in  Xew  York,  so  that  I 
might  get  into  the  spirit  of  the  play  once  more. 
I  agf|  [Continu*  ■!  on  pagi    1 1"| 


Kay  John- 
son is  not  a 
b  e  a  u  t  y  in 
the  old  film 
sense,  but 
her  vocal 
charm  and 
magnetism 
will  get 
you. 


Too  Man>>  Don'ts  Mean  Do 

From  his  earliest  games  and  reading  to  his  marriage,  Douglas  Fairbanks,  Jr.,  has  had  to  revolt  against 
advice,  every  speech  ending  with  "Don't  do  it,"  in  order  to  live  his  own  life. 

By   Samuel  Richard  Mook 


H(  )\V  would  you  like  to  have  some  one  continually 
saying  to  you  '"Don't  do  that"?  It's  what  Doug- 
las Fairbanks.  Jr..  has  been  up  against  all  his  life. 
Everything  that  Douglas  has  ever  wanted  to  do  has 
cither  been  given  up,  or  done  against  some  one's  wishes. 
Everybody  connected  with  him  lias  tried  to  live  his  life 
lor  him.  People  are  constantly  saying  to  him.  "Don't 
do  it.  I've  been  through 
that  myself  and  I  know 
what  I'm  talking  about. 
You'd  better  profit  by 
my  e.\]>erience." 

"If  I  did  everything 
people  told  me  to  do,  and 
never  did  any  of  the 
things  they  tell  me  not  to 
do.  I  might  lead  a  very. 
sheltered  existence  and 
-a\  e  myself  lots  of  heart- 
ache," says  Doug,  "but 
I'd  sure  live  an  unevent- 
ful life.  I  don't  want  to 
go  through  life  on  other 
people's  experiences ;  I 
want  experiences  of  my 
own.  Some  of  them 
might  be  unpleasant,  but 
at  least  I'll  have  gone 
through  the  deep  shad- 
ows as  well  as  the  high 
lights.  I  don't  think 
there's  anything  more  un- 
interesting than  a  Polly- 
anna — even  though  Mary 
Pickford's  film  repre- 
sentation of  her  was  so 
delightful. 

"When  I  was  a  kid  I 
was  quite  delicate  and 
often  sick.  I  had  a  weak 
heart,  and  every  once  in 
a  while  it  would  skip  a 
beat.  It  still  does  occa- 
sionally, but  it's  from  a 
different  cause  now. 
When  we  are  going  out 
in  the  evening  and  Joan 
comes  into  the  room  just 
before  we  leave,  looking  like  a  vision,  I  think,  'Gee! 
This  is  my  wife!'  and  my  heart  misses  several  beats.  In 
fact,  you  might  say  it  flutters. 

"Well,  to  get  back  to  the  youthful  heartskips.  I  was 
terribly  interested  in  athletics  of  all  sorts.  The  doctor 
and  the  family  thought  they  were  the  worst  thing  in  the 
world  for  me,  and  there  was  a  lovely  row  every  time  they 
caught  me  at  any  of  them.  But  I  thought  there  was  no 
use  living  if  you  couldn't  have  any  fun,  SO  I  went  ahead 
with  them  anyhow.  And  the  funny  part  of  it  is  that 
id  of  being  harmful  they  really  strengthened  my 

heart." 

Looking  at  him  to-day  you'd  never  think  he  had  been 
sick  a   day   in   hi-   life.      Bronzed    from   the  outdoo 


Photo  by  ChldnofT 


quences  of  pictures  and  the  golf  that  no  one  tells  him 
not  to  play  any  more,  he  looks  exceptionally  fit. 

"Then,"  he  continued,  "when  I  was  ten  or  eleven  years 
old  I  was — er — quite — shall  we  say  highbrow  ': — in  my 
literary  tastes.  I  had  memorized  'Richard  III,'  and  read 
scarcely  anything  except  classics.  I've  wised  up  now 
and    read    everything    from    Zane    Grey   to    Robert    W. 

Chambers,  with  all   in- 
tervening stops'. 

"In  my  early  years  it 
was  always  a  battle  to 
read  the  things  I  wanted 
to.  'You  mustn't  read 
things  like  that — they'll 
make  you  morbid,' 
they'd  say  to  me  and 
offer  me  Horatio  Alger, 
Jr.,  and  James  Henty, 
and  Oliver  Optic. 

"Well,  for  kids  who 
like  that  sort  of  stuff 
they're  fine,  but  I  didn't 
care  for  them  and  I 
think  the  things  I  read 
stimulated  my  imagina- 
tion as  much  as  trash 
ever  stimulated  other 
boys'.  And  I  had  the 
advantage  of  assimilat- 
ing the  vocabularies  of 
really  worth-while 
author.-,  and  of  being 
able  to  remember  and 
carry  through  the  years 
with  me  the  things  I 
read,  while  most  boys 
have  to  forget  the  junk 
they  fooled  away  their 
time  on." 

I  wondered  about  that. 
It    seemed    to   me   that 
any  boy  who  didn't  read 
boys'  books  lost  an  aw- 
ful   lot    of    fun.      But 
Doug  didn't  agree  with 
me.      He    thinks    it    is 
just  as  easy  to  cultivate 
a   taste   for   fine  things 
as  for  cheap.     And  if  they  had  a  morbid  influence  on  his 
character  at  the  time,  he  feels  that  that  same  morbidity 
broadened  it. 

When  he  was  quite  young  his  parents  separated,  and 
Douglas  and  his  mother  went  abroad  to  live.  Doug 
studied  only  the  things  that  interested  him — history,  war 
maneuvers,  philosophy.  Mathematics  never,  interested 
him.  Neither  did  geography.  His  father  used  to  say 
to  him.  "Don't  grow  up  that  way.  with  a  slipshod  educa- 
tion. I  want  you  to  be  a  gentleman,  with  a  gentleman's 
education.  You  go  to  Oxford."  But  Douglas  didn't. 
To-day  I  don't  know  that  it  makes  much  difference. 
Probably  his  way  was  right,  for  when  he  was  fourteen 
Continued  on  page  105 


Doug,    Jr.,    was    warned    that    marriage    would    "kill"    him 
and  Joan  Crawford  in  films. 


!■%<-       ;    ■  .-• 


Happy  a.->  Joan  Crawford  and  Douglat  Fairbanks,  Jr.  arc  now,  it 

was  not  always  so  with  them,  particularly  Dong.  Fof  lit-  married 
his  wife  against  the  advice  of  virtually  every  relative  and  friend. 
In  fact,  he  has  been  beset  by  "Don'ts"  all  his  life,  to  such  an  extern 
that  it  is  a  wonder  he  has  grown  Up  to  Ik-  the  stalwart,  self-reliant, 
and  mocesafnl  young  man  that  he  is.  This  little-known  i.i 
brought  to  liKht  on  the  opposite  page,  together  with  mm  li  tls<-  oi 
interest  to  admirers  of  the  young  couple. 


76 


War  Nurse" 

The  popular  novel  finds  its 
way  to  the  screen,  with  June 
Walker,  one  of  the  more  in- 
teresting stage  luminaries,  to- 
gether with  players  already 
well  known  to  followers  of 
the  screen. 


Marie  Prevost  and  Zasu  Pitts,  at  top 
of  page,  have  a  little  dispute  that  en- 
livens their   routine  as  nurses   behind 
the  firing  line. 


Anita  Page,  above,  as 
Joy,  who  has  just  left 
school  to  become  a  war 
nurse,  meets  Robert 
Ames,  as  Kobin,  only 
to  learn  that  he  is  mar- 
ride,  when  it  is  too 
late  to  escape  the  con- 
sequences of  their  love. 


Miss  Walker,  right, 
is  helped  by  Helen 
Jerome  Eddy,  as  "Kan- 
sas," to  get  ready  for 
her   date   with    IVally. 


June  Walker,  above, 
as  Babs,  asks  Robert 
Montgomery, as  IVally. 
if  he  really  loves  her. 
It  is  an  old  question, 
but  in  this  story  it  has 
a  new  answer,  for 
Wally  says  that  he 
loves  her  "in  a  way." 


77 


The  loss  of  I.un  Chaney  to  the 
fans  is  as  great  as  his  loss  to 
Hollywood  and  the  motion  pic- 
turc    indnstl  -    he   was   loved 

and  respected  both  as  actor  and 
man.  Born  in  Colorado  Spi 
Colorado.  April  I,  1883.  he  was 
the  son  of  deaf-mute  parents.  He 
left  school  at  thirteen  ami  earned 
his  first  money  as  a  mountain 
guide.  Drifting  into  the  theater 
as  a  property  man.  he  later  be- 
came a  dancer  and  comedian. 
Stranded  in  California,  he  made 
his  way  to  Hollywood,  where  he 
worked  as  an  extra.  With 
foothold  he  made  his  way  slowly. 
painfully  to  the  point  where  he 
played  roles  and  gained  som< 
<  ignition,  until  "The  Miracle 
Man"  established  him  as  a  star 
Since    then    his    financial    success 

assured,    but    his    effort 
maintain  his  position  were  harder 
and    it    is    believed    that    he 
weakened    and    injured    in    simu- 
lating  the  deformities   that   char- 
acterized   his    roles. 


78 


Marilyn  Miller  radiates  it 
wherever  she  goes  on  her 
twinkling  toes,  and  in  her  new 
picture,  "Sunny"  she  is  the 
spirit  of  light. 

All  her  life  Marilyn  Miller  has  danced 
to  express  her  gayety,  her  rippling, 
overflowing  spirits.  But  when  fame 
came  to  her  she  was  not  content  to  be 
known  only  as  a  dancer — she  learned 
to  act  and  sing  until,  step  by  step  and 
song  by  song,  she  became  the  highest- 
salaried  star  in  musical  comedy,  and 
last  year  her  popularity  extended  to 
the  screen.  She  is  seen,  left,  in  one  of 
her  amusing  disguises   in   "Sunny  " 


Just  Drifting 

Both   Gary   Cooper  and   Marlene   Dietrich 

are  disillusioned  by  life  in  "Morocco,"  but 

love    brings    them    together. 


Gary  Cooper,  above,  as  Tom  Broii.it.  a  soldier  in 
the  Foreign  Legion,  meets  Marlene  Dietrich,  as  Amy 
Jolly,  a  girl  t'rom  nowhere,  who  dritts  into  a  cafe 
chantant  and  is  hired  t«i  sing.  Before  long  a  common 
understanding  awakens  the  sympathy  of  one  for  the 
other,  which  soon  change*.  t<i  love.  Hut  their  path 
is  broken  by  perils  until  nothing  matter-,  except 
their  love  for  each  other.  Kim  Dietrich,  right,  is 
seen  in  her  dressing  room  with  Adotphc  llcnjoa 
i-   Mr    i  ..  |nr\  rival 


80 


A  Bride  in  Name 
Only 

She  is  Clara  Bow,  in  "Her  Wed- 
ding Night,"  which  means  that  a 
marriage     entered     in    haste    is 
enjoyed  at  leisure. 


Clara  Bow  has  a  role  that  she  should  play  convincingly  if  any  one 
could.  For  in  her  new  picture  she  is  a  film  star  who  goes  to 
Paris  incognito  to  escape  the  excitements — largely  masculine — 
of  her  crowded  career  in  Hollywood.  There  is  no  such  relief 
for  her,  however,  and  soon  she  is  embarked  on  an  adventure  that 
causes  her  to  sign  a  marriage  register  in  the  belief  that  it  is  a 
hotel  guest  book.     Miss   Bow,  right,  with   Richard  Gallagher. 


81 


"Fath 


5 

ers 


ion 


55 


He's  very  much  mother's,  too. 
in  the  picture  of  that  name,  be- 
cause Irene  Rich  claims  him. 
And  what  boy — or  man.  either — 
wouldn't  be  proud? 


l^eon  Janney,  above,  the  attractive  and  talented  boj 
who  scored  a  hit  in  "Courage,"  i»l;i>  -.  the  leading 
role  in  "Father's  S<>n."  that  of  a  youngster  whoM 
father  does  not  understand  him,  hut  whose  mothei 
does,  until  circumstances  bring  the  man  around 
to  the  1x>_y's  point  of  view  and  the  family  an 
united  in  happy  understanding.  Young  Janney. 
as  BUI  Emory,  heeds  the  gentle  admonition- 
of  Irene  Rich,  as  his  mother,  Miss  Rich,  left,  in  a 
heautiful  mood 


sj 


Among  the 
Rich 

"The  Best  People" 
promises  to  throw 
light  on  the  surprising 
goings  on  among  the 
moneyed    elect. 


Miriam  Hopkins,  at  top  of 
page,  comes  from  the  stage 
to  play  the  role  of  a  rich 
girl  who  falls  in  love  with 
the  family  chauffeur,  while 
Henry  Wadsworth,  as  her 
brother,  chooses  his  ladylove 
from  the  chorus. 

Carol  Lombard,  outer  right, 
is  the  beautiful  chorister 
who  attends  a  party  with  her 
friend,  played  by  Ilka  Chase. 

Miss  Chase,  left,  also  of  the 

chorus,    attempts    to    induct 

Miss    Hopkins  into  a  dance 

routine. 


i'V 


83 


Davtfns  Anotker  Goofy  Day 

A  round  of  the  clock  in  the  movie  capital  falls  into   a   pattern,  and   from   sun   to   sun   a   community   log 
would   include  all   the  vagaries  and   foibles   of   the    great,    plus    those    peculiar    to    the    thousands    less 

favored  by  the  cinema  gods. 

By   Carroll   Graham 


thousand  of  them  are 
bed  to  clutch  a  day's 


SIX  THIRTY  A.  M.— Six  thousand  alarm  clocks  m 
Hollywood,    Beverly    Hills.    Culver    City,    and    way 
points   arouse   six   thousand   persons    from   slumber 
calls  ight    thirty.      Three 

is,  who  gladly  spring  from 
pay  check.     Two  thousand 
tricians  and  carpenters,  who  arise  grumbling.     Five 
hundred  arc  mil  rs,  who  turn  over  to  sleep   for 

her  half  hour.    The  rest  are  stars  and  directors,  who 
throw  the  cl  -  and  decide  to  be  late 

and  let  the  producer  complain  if  he  dares. 

n  a.   m. — Eighteen   members   of   the   producers' 

ciation  rush  to  Hollywood  Boulevard  broker's  office 

for  an  anxious  glance  at  the  ticker  before  they  decide 

whether  to  start  a  new  super-production,  or  lay  off  some 

■ 

a.  m. — Three  thousand   extras  and   two 
the:  s     and     electricians     arrive    on     the 

var:  rving    that    stars    and    directors 

have    rmt    arrived,    complain   about    the    soft    life    some 
people  lead. 

•  a.  in. — Phine:  -  nt   of    Monstrous 

Pic:  .  decides  to  change  the  title  of  his 

talking  "Hamlet"  to  "Flaming  Dai 

a.  m. — A  dialogue  writer,  who  has  been 
thinking  steadily  for  an  hour,  writes  his  first  bit  of 
dial  r  the  day.  "James  Davenport,  you  cad,  you 

kno  gold  can  never  buy  the  heart  of  Myrtle  van 

Rensselaer." 

Ten  a.  m. — Two  actors  meet  on  Hollywood  Boulevard 
and  explain  to  each  other  why  they  have  not  yet  appeared 
in  a  talking  picture. 

Ten  thirty  a.  m. — Fifteen  Broadway  playwrights  leap 
off  a  Santa  Fe  train — eight  from  the  cushions,  the  other 
seven  from  the  rods — hoping  to  write  dialogue  for  the 
talk- 

Eleven  a.  m. — Almost  all  the  stars  and  directors  with 
the  eight  thirty  calls  are  at  work  by  this  time. 

Eleven  thirty  a.  m. — Hollywood  be*  n  up 

shop  for  the  day  and  answer  •  hurry   calls 

from  boys  and  girls  who  were  the  life  of  the  party  last 
night  and.  as  a  consequence,  are  dying. 

:i. — Directors  and  stars  who  didn't  arrive  for  the 
eighty  thirty  calls  decide  to  knock  off  for  lunch. 

Twelve  thirty  p.  m. — Twenty-seven  song  writers 
gather  at  the  Brown  Derby  and  steal  tunes  from  each 
other  during  lunch.  Visiting  Towans  mistake  eight  of 
them   for  Al  Canone. 

One   p.   m. — Arthu-  ling- 

hand  biter,  utters  a  wisecrack  which  hurts  the  feelings 
of  Warner  Brothers,  for  whom  he  worl 


(  hie     thirty     p.    m. — A     magazine     interviewer     lisps, 
"Don't  you  feel  your  art  has  a  greater  chance  for  i 
pression  in  the  talkies?"  to  an  actor  fresh  from  Broad- 
way, who  unused  to  Hollywood   ways,  wonders  what  in 
the  world   you're  supposed  to  say  to  a  crack  like  that. 

Two  ]>.  m. —  Four  scenario  writers,  unemployed,  start 
a  game  of  pool  at  the  Writers'  Club,  and  between  sh 
curse  the  man  who  invented  talking  pictures. 

Two  thirty  p.  m. — The  two  actors,  having  explained 
to  their  mutual  satisfaction  why  they  haven't  appeared 
in  any  talkies,  decide  to  call  upon  a  third  Thespian  who 
may  possibly  have  some  money. 

Three  p.  m.— Phineas  Gagg,  president  of  Monstrous 
Pictures  Corporation,  decides  to  change  the  title  of 
"Flaming  Danes'  ssions  of  a  Princ 

Three  thirty  p.  m. — The  dialogue  writer  who  had  his 
first  inspiration  at  nine  thirty  sneaks  out  of  the  studio 
and  plays  golf. 

Four  p.  m. — Twenty-two  Broadway  playwrights  board 
eastbound  trains,  some  one  having  read  tin-  talkie  dia- 
logue they  wrote. 

■  thirty  p.  m. — The  produc  nation  meets 

and  issues  a  statement  that  1930  will  he  a  vear  of  nn- 
equaled  prosperity  in  the  film  industry.  This  makes 
them  all  feel  better  about  the  stock  marl 

Five  p.  m. — The  stars  and  directors  who  didn't  make 
the  eight  thirty  calls  decide  to  call  it  a  day. 

Five  thirty  p.  m. — All  the  telephone  lines  at  the  Studio 
Club  arc  busy  now  as  the  Hollywood  rakes  try  t"  line 
up  dates  for  the  evening. 

Six  p.  m. — Six  thousand  directors,  stars,  actors,  car- 
penters, electricians,  and  extras  decide  to  go  to  bed  early 
to-night,  so  it  won't  bo  so  tough  making  that  early  call 
in  the  morning. 

Six  thirty  p.  m. — Nineteen  extra  girls  stroll  casually 
into  Henry's  to  sec  if  they  can  promote  a  dinner  from 
some  gullible  Patsy. 

Seven  p.  m. — Eighteen  assorted   Hollywoodians   de- 
cide to  drop  into  J'imes  Cruze's  hou  if  there  IS 
on  that  they  can  crash. 

Seven  thirty  p.  m. — Eighty-six  Hollywood  husbands 
arc  dragged  by  their  wives  to  neighborhood  movies, 
their  protests  that  they  make  the  ao  :ngs  all  day, 

and  don't  want  to  see  them  at  night,  not  having  the 
slightest  eft-    I 

ht  p.  m. — First  editions  of  morning  papers  come 
out  with  headline.  "MOVIE  ACTRESS  JAILED  IN 
RATD."  No  one  on  Hollywood  Boulevard  buys  a  paper, 
because  every  one  knows  the  actress  will  turn  out  to  be 
a  wai  San  Pedro. 

Continued  on  page  117 


St 


*£7. 


f^jfr.  y* 


<■'>»• 


Nix  on  the  Actor's  Life 

Do  you   know   that   there  are   people   in   Hollywood  who  scorn  a  career   in  the  movies?     For  example, 
Andy,  the  studio  grip,  who  has  seen  stars  come  and  go,  and  has  some  amusing  thoughts  on  glamour 

and  glory — and  the  fade-out. 


B>?   H.  A.  Woodmansee 


Illustrated  by  L^ui  'fSrugo 


WOULD  you  like  to  act  in  pictures?  Then  you 
ought  to  have  a  talk  with  Andy,  the  studio  grip. 
Andy  knows  the  actors'  lives  from  the  under 
side.  He  is  with  them  during  all  their  working  hours, 
while  he  shifts  reflectors,  rigs  contrivances,  and  makes 
himself  handy  in  a  hundred  ways  on  the  set  or  on  loca- 
tion. He  knows  some  actors  personally ;  ne  is  stuffed 
with  inside  information  about  play- 
ers, as  individuals  and  as  a  class, 
that  circulates  through  the  studios, 
but  seldom  gets  to  the  ears  of  the 
public.  Actors  scorn  Andy's  long 
hours  of  sweating  toil,  at  a  laborer's 
wage,  but  Andy  doesn't 
envy  them. 

In  a  small  way,  Andy 
has  been  an  actor  himself. 
Several  times  a  director 
has  called  upon  him  to  step 
into  a  scene  and  do  a  bit, 
for  he  is  a  good  type.  But 
ask  him  why  he  doesn't 
quit  hustling  props  and  go 
into  acting.  He  will  re- 
tort, eloquently,  "Me  act? 
Not  while  I'm  conscious!" 

Andy  is  not  the  only 
one  of  the  movie-wise 
who  looks  upon  the  actor's 
lot  with  a  cynical  eye. 
Many  a  man  who  has  the 
opportunity  to  make  good 
as  an  actor  prefers  to 
work  behind  the  camera 
lines.  Let  the  actor  have 
the  glory !  Those  who 
make  the  wheels  go  round 
usually  occupy  more  en- 
viable positions. 

There's  a  very  seamy  side  to  being  an  actor.  In  spite 
of  all  the  stories  that  have  been  circulated  about  the 
Struggles  and  hazards  of  the  Hollywood  Thespian,  the 
public  really  knows  very  little  of  what  he  is  up  against. 
Andy  knows.  The  crowd  merely  sees  the  successful 
actor  shooting  up  into  the  heavens  like  a  skyrocket,  in  a 
blaze  of  glory.  But  Andy  watches  the  manufacture  of 
the  skyrocket,  the  lighting  of  the  match,  and  the  fall  of 
the  burned-out  stick  in  the  darkness.  What's  more,  the 
descending  stick,  so  to  speak,  sometimes  strikes  him  in 
the  back  of  the  neck.  Many  an  actor  acquaintance  comes 
to  Andy   for  lunch  money. 


The  thrills  and  spills  of  the 
Andy  all   the   more 


Andy  knows,  among  other  things,  that  a  certain  kid 
comic  got  his  funny  walk  from  the  effect  of  malnutri- 
tion on  his  growing  body  when  he  was  begging  casting 
directors  for  a  chance.  He  knows  that  a  once-popular 
charmer  will  never  work  again  in  pictures,  although  she 
has  been  pathetically  besieging  the  studios  for  six  years. 
He  knows  that  So-and-so  is  in  a  sanitarium,  and  that 
the  boys  are  taking  up  a  collection  for 
the  family  of  a  former  idol. 

There  are  many  reasons  why  the  ac- 
tor's lot  is  not  to  be  envied.     Foremost 
among  them  is  the  fact  that  he  is  prac- 
tically always   job  hunting.      Even   the 
contract     player     finds, 
more    often    than    not, 
that  his  contract  is  just 
a  brief   interruption  in 
the   quest   for   employ- 
ment, with  troubles  of 
its  own. 

Job  hunting  in  any 
field  of  work  is  an  or- 
deal, but  in  movie  act- 
ing it  acquires  new  and 
gaudy  tortures.  When 
a  casting  director  has  a 
call  for  a  certain  type, 
he  is  apt  to  protect  him- 
self by  rounding  up  all 
the  actors  who  might 
fill  the  bill.  Phones 
ring  merrily  all  over 
town,  and  actors  come 
scurrying  from  all 
points  of  the  compass. 
Many  of  them  have 
spent  their  last  dollars 
on  clothes  pressing, 
shoe  shining,  and  bus 
fare.  An  actor  must  make  his  best  possible  appearance, 
if  he  has  to  go  hungry  to  do  it. 

From  the  crowd  of  candidates  the  director  picks  one, 
and  the  others  return  home  to  wait  for  the  next  call. 
The  lucky  actor  finds,  in  many  cases,  that  his  job  will 
last  for  only  a  few  days,  and  then  he  will  be  back  among 
the  employment  seekers. 

There  are  hundreds — thousands — of  players  trying  to 
make  a  living  in  this  haphazard  way.  They  are  contin- 
uously campaigning  for  work;  always  on  their  best 
appearance,  forever  trying  to  make  an  impression,  no 
matter  how  discouraged  they  may  be.     A  day's  work  is 


dizzy  whirl  of  stardom  make 
content   with   his   job. 


Nix  on  the  Actor's  Life 


85 


success :  a  pan  that  keeps  them  on  the  pay  roll  two  or 
three  weeks  makes  them  jubilant      They  must  keep  in 

Stant  touch  with  easting  offices,  DO  matter  how  truit- 
it  may  he.  They  must  relentlessly  hunt  down  every 
will-o'-the-wisp.  They  must  keep  in  the  good  graces  of 
all  who  might  help  them  to  get  employment.  They  find 
that  some  casting  directors  are  considerate  in  their  treat- 
ment, while  others  are  not:  they  play  favorites.  They 
are  fresh  with  i^irl  applicants  and  overbearing  with  men. 

They  are  accustomed  to  such  evasions  as.  "He's  in 
the  projection  room.  Come  around  to-morrow."  and. 
"I  was  looking  for  you  everywhere  yesterday  for  that 
big  part — it's  tilled  now."  They  are  being  perpetually 
yanked  out  of  the  pit  of  despair  only  to  find  it  is  the 
preparation  for  another  sickening  downward  swoop. 
Fa!-  are  huilt  on   false  hopes.     They  are  stalled 

off,  flattered,  lied  to.  abused,  yet  they  can't  afford  to  take 
se.  And  in  it  all  there  is  the  fascination  oi  gain- 
hting,  the  thrill  of  watching  the  roulette  wheel  spin 
toward  one's  number.  Coffee  and  doughnuts  to-day,  a 
banquet  at  the  Coconut  Grove  to-morrow — or.  just  as 
likely,  not  even  coffee  and  doughnut 

Of   C  .'.1   actors   don't    live   on   a   hand-to-mouth 

basis.     Take   th.  if   the    featured   player   who   has 

d  a  contract  to  appear  in  a  picture  at  the  studio 
where  Andy  works,  at  $StX^  a  week.  That's  more  than 
the  small  studio  likes  to  pay.  and  they  have  planned  the 
shooting  schedule  so  that  her  part  in  the  picture  will  he 
finished  in  two  weeks.  No  more  $800  checks  until  she 
lands  the  next  job.  And  how  she  campaigned  to  get 
that  one!  The  lavish  entertaining  of  people  who  might 
help  her  gel  work,  the  upkeep  of  her  magnificent  home, 
the  big  car!  One  can't  do  things  on  an  economical  scale 
while  gunning  for  Hollywood's  big  money.  The  play- 
er's ^>0  checks  probably  will  go  toward  paying 
off  past  debts.  She  would  rather  work  regularly  for 
half  the  money  she  gets,  but  she  is  afraid  of  lowering 
her  caste. 

Does  Andy,  the  grip,  envy  this  $800-a-week  butterfly 
who  spends  most  of  her  time  lavishly  entertaining  and 
seeking  work?  Not  while  he  can  count  on  putting  $8.30 
in  the  bank  every  week,  and  she  can't. 

The  notion  that  a  director  always  has  his  eyes  open 
for  new  talent  is  the  bunk.  Not  only  does  many  a  di- 
rector look  by,  over  and  through  the  most  promising 
unknown  without  a  cerebral  ripple,  but  sometimes  a 
director  will  know  players  by  their  first  names,  go  to 
parties  with  them,  admit  that  they  have  possibilities,  and 


Andy  knows  what 
actors  have  to  do 
to    keep    up    ap- 
pearances. 


After  so 
many  hard 
knocks,  ac- 
tors, like 
prize  fight- 
ers, get 
''punch 
goofy." 


still  not  give  them  a  real  chance.    Sometimes  he  doesn't 

want  to  take  a  chance  with  an  unknown;  sometimes  he 
is  forced  to  push  other  players  who  have  influence; 
sometimes  it's  just  procrastination  or  inertia.  The  job 
seeker  may  expect  "plenty  grief"  in  winning  the  atten- 
tion of  those  who  can  help  him. 

But  the  actor's  troubles  are  far  from  over  when  he 
has  obtained  the  prized  contract.  The  star,  of  course, 
gets  the  best  role,  the  lighting,  the  close-ups.  The  actor 
in  a  subordinate  part  seldom  is  able  to  appear  at 
his  best  advantage.  If  he  is  miscast,  or  made  to  do 
things  which  show  him  in  a  poor  light,  he  has  to  grin 
and  hear  it. 

Stardom  brings  troubles  of  its  own.  Imagine  how  a 
star  of  reserved  nature  feels  to  be  constantly  on  view 
to  the  public,  as  if  she  lived  in  a  glass  house!  Favor 
seekers  trailing  you  wherever  you  go;  an  army  of  re- 
porters writing  that  you're  engaged  every  time  you  speak 
to  a  member  of  the  opposite  sex,  urging  you  to  reveal 
for  publication  your  inmost  feelings,  the  details  of  all 
your  amours,  with  names  and  dates,  please!  You've 
got  to  grin  and  like  it.  You  can't  pull  a  Lindbergh  and 
figuratively  slam  the  door  in  their  faces.  Chaplin  can 
yank  down  the  blinds  when  he  has  his  fill  of  public 
staring — although  he  atones  later  by  amiable,  dem- 
ocratic gestures — but  the  average  star  wouldn't 
dare  to  follow  his  example.  Oh  my,  no!  One 
must  he  as  chummy  with  everybody  as  an  old  pal 
in  a  theme  song. 

The  actor's  life  has  an  emotional  stress  and 
strain  that  is  unknown  in  other  fields  of  work. 
The  player  not  only  bounds  from  the  heights  to 
the  depths  of  feeling  in  his  own  very  uncertain 
life,  but  at  a  director's  order  he  must  pump  up 
grief,  joy,  or  what  do  you  want?  Many  directors 
are  hard  to  please,  and  some,  particularly  the  star 
makers  of  the  old  school,  use  the  technique  of  the 
football  coach  who  accuses  his  men  of  a  yellow 
streak  to  arouse  their  fighting  spirit  and  make 
them  give  everything  that  is  in  them.  Many  an 
emotional  masterpiece  has  been  achieved  through 
insulting  a  player  to  tears.     Actor  lirec- 

tor  who  can  tear  the  hearts  out  of  them,  and  the 
director,  in  turn,  may  feel  as  if  thev  were  his  own 

children.    But  it  all  (joes  toward  making  the  actor's 

life  a  hard  I 

Continm  <l  on  page   IK' 


86 


M  a  ry  Brian, 
left,  is  no 
longer  the  de- 
mure little 
heroine  when 
she  blossoms 
out  in  p  i  n  k 
chiffon. 


c 


lTi 


arniVal  I  lme 


The    masquerade    spirit,    aroused    by    talkies    and 
players   gleefully   dig   out  the   gaudiest 


Cleopatra,  as  impersonated  by 
Thelma  Todd,  center,  has  be- 
come rather  modest  since  we 
used  to  see  her  pictured  in 
books  not  on  the  high-school 
reading  list. 


■,%y. 


"Oh,  yeah?"  thunders 
Jack  Haley,  left,  as 
Cccsar,  in  "Follow 
Thru,"  at  the  same 
time  drawing  his  trusty 
sword. 


*sr 


Imagine  our  aston- 
ishment  to  find 
Regis  Toomey 
above,  hidden  under 
the  gay  togs  of  Ro- 
meo for  the  mas- 
querade sequence  of 
"Follow  Thru," 
which  proves  that 
one  never  knows 
when  an  actor  will 
reveal  a  new  side 
of    himself. 


Billie  Dove,  left,  is 
a  lively  addition  to 
anybody's- party  when 
she  turns  out  as  1 
harlequin,  as  she 
does  in  "One  Night 
at   Susie's." 


>^7 


in 


Filmd 


Technicolor,  has  spread   over  the   Studios,  ami   the 

treasures    of   the    costume    rooms. 


The  highland  1  red  >•> 

-roll,    right,    in    the 
fancy-ilre>>    Bequew 
low  Thru.''  a'd  like  to 

roamin1  in  the  gloamin*. 


What  girl  would 
not   appro> 
the     choice 

Nora    I.  a  n  >  . 

right,   to  bl 

il    tin-   ha] 
masque  in  "Ma- 
dame Satan"? 


' 

.:\  Mc- 

i  >rew,"   is   pop- 

with  inno- 
cent surpr 
what  he 


88 


Mona  Maris  says  that  the  actress 

must  study  and  imagine  the  way 

a  character  will  act. 


IT  has  already  been  remarked 
that  actors  are  not  as  other 
mortals.  Now  we  face  an- 
other question.  Why  do  these 
celebrities  differ  from  the  rest 
of  humanity?  The  answer  is — 
because  they  are  actors.  Acting 
is  to  blame.  And  what  is  act- 
ing? Far  be  it  from  this  lowly 
scribe  to  state  that  acting  is 
madness ;  but  he  might  well  be 
pardoned  for  thinking  so. 

In  the  good  old  days  B.  T. — 
before  talkies — when  stars  were 
stars  and  made  studios  smile 
with  delight  when  they  gave 
them  a  smile,  and  tremble  with 
fear  at  their  frown — Nazimova 
was  the  empress  of  emotion. 

The  old  Metro  lot,  now  de- 
serted and  empty,  has  all  the 
aspects  of  a  former  madhouse 
— a  grim  abode  where  strange 
things  once  occurred. 

Tt  was  reported  that  Nazi- 
mova was  the  most  tempera- 
mental star  in  existence.    Before 


Is  Acting 

The  writer  of  this  clever  article  says  that  it 
amazing   instances   of  aberrations 

B$  William 

a  very  emotional  scene  was  to  be  shot,  she  became 
pale,  even  through  her  make-up,  starting  to  tremble 
and  shudder  with  the  force  of  her  transformation. 
Then,  like  one  possessed,  she  tussled  with  her  role, 
mauled  the  leading  man,  or  whatever  it  was  that 
she  had  to  do  in  the  name  of  acting. 

This  over,  the  great  Nazimova  moaned,  sway- 
ing from  side  to  side.  Sometimes  she  fainted.  Or 
she  collapsed  with  the  intensity  of  her  emotion  and 
had  to  be  borne  out.  Quite  often  she  became  hys- 
terical and  had  to  be  held  down,  like  a  mad  person, 
until  her  temporary  excitement  subsided. 

In  spite  of  her  strangeness,  Nazimova  was  un- 
doubtedly one  of  the  great  actresses  of  her  day. 
Yet  did  not  she,  like  others,  find  herself  caught  in 
the  scorching  heat  of  the  flame  of  genius  which  she 
wooed? 

Every  player  is  attracted  to  this  white  flame  of 
genius.  It  is  dangerous,  though.  The  danger  be- 
ing whether  the  player  will  be  able  to  control  the 
flame,  or  be  consumed  by  it.  This  combat  prob- 
ably accounts  for  the  queer  spells  of  many. 

I  recall  the  strangeness  that  often  attacked  Pola 
Negri,  when  the  Polish  firebrand  emoted  in  Hol- 
lywood. Pola  walked  slowly  onto  the  set,  her  pale 
face  tense,  her  eyes  staring  straight  ahead  as  if  at 
nothing.  Then  the  fireworks  began.  Emotion  and 
passion  were  given  terrific  play.  The  episode  fin- 
ished, the  star  stag- 
gered like  one  crazy. 

Secretary,  maid,  hair- 
dresser, all  ran  to  sup- 
port her  tottering  form 


and  guide  the  exhausted 
artist  to  her  chair. 
Kilmmel,  or  some  other 
stimulant,  restored  her 
to  sanity  until  the  next 
scene,  after  which  an- 
other restorative  was 
necessary. 

During  the  trial  scene 
in  "Barbed  Wire,"  Pola 
was  staggering  to  a  seat 
when  a  spark  dropped 
from  one  of  the  arcs 
onto  her  bare  shoulder. 
Snatching  the  nearest 
object — which  unfortu- 
nately happened  to  be 
my  arm — she  shrieked 
expletives  to  high 
heaven  and  other  re- 
mote  places. 

The  rescue  crew  ar- 
rived.     Even    then,    la 

Barry      Norton      never 

ponders  over  his  acting, 

but    dives    right    into   a 

scene. 


89 


Mad 


? 


nesss 


is,  and  proceeds  to  prove  it  by  describing  some 
among  the  stars  while  on  the  set. 


H.  McKegg 


shudderingly  still,  refused  to  loosen  her 
hold  on  me.  So  I.  too,  luul  to  go  with  her  and  her 
supporters  to  the  star's  throne. 

No  frenzied  person  could  have  gripped  an  arm 
with  more  fury  than  Tola  gripped  mine.  It  was 
black  and  blue  for  weeks  afterward.  Rut  such 
marks  were  dear  to  my  heart,  having  been  caused 
by  the  strangle  hold  of  genius  while  in  the  throes. 

The  calm  and  collected  individuals  in  the  movies 

are  not  great  actors,  nor  are  they  interesting  pcr- 

Consider  Conrad  NageL     Only  those  who 

are  publicly  torn  by  emotion  possess  a  -park  of  the 

divine  flame  of  genius.     But  how  oddly  they  act ! 

Temperament  and  temper  are  closely  allied.      \ 

a  her}-  temper  is  not  normal.     It 

is  well  known  that  temper  is  temporary  madness. 

Vet.  are  the  players  to  blame?  Does  not  acting 
encourage  them  ? 

Acting  affects  Greta  Garbo  in  a  stranger  manner 
than  it  does  any  other  star. 

In  reality  Greta  is  almost  childlike  in  her  sim- 
plicity. She  is  by  no  means  the  ravishing  vamp 
she  appears  to  be  on  the  screen.  Yet.  once  before 
the  camera,  she  is  slowly  transformed,  becoming  a 
glowing,  seductive  siren,  symbolizing  s<  \  at  its 
stror_ 

Argue  as  much  as  you  like,  acting  causes  Garbo 
of  a  force  that  grips  her  and 
changes  her  into  another  be- 
ing.     Her    acting    ener 
her.  too — like  a  mad- 

I  saw  Janet  Gaynor  trem- 
ble with  utter  weakness  after 
playing    certain    emotional 
sequences     in     "Seventh 
Heaven."      So  much   strain 
placed  on  her  in  "Sun- 
and  "The  Four  Devils." 
that  she  had  a  nervous  break- 
down after  each   production 
Inished. 

What  could  be  closer  to 
madness  than  the  terrific, 
frightening  force  that  swept 
Jeanne  Eagels  up  into  its 
whirlwind  ?  Was  it  not  mad- 
-  brought  on  by  acting 
that  really  caused  the  death 
of  this  talented  actn 

Here  was  a  player  whose 
genius  was  obviously  that 
gained  from  the  heiglv 
art.  Within  fiftc- 
she  fought  her  way  up  from 
p.  She 
became  one  of  the  first  stars 
of  the  theater  in  America. 
For  the  greater  part  of  five 

years  she  played   the   intensely  dramatic  role  of  Sadie 
Thompson  in  "Rain" — the  play  that  made  her  a 


After  an   emotional   scene, 

tering  form  was  supported 

a  chair. 


Janet     Gaynor     felt     the     emotional 

strain   of   "Sunrise"   and    "The    Four 

Devils"  so  severely,   that  she   had   a 

nervous  breakdown  after  each. 

One  would  imagine  that  reaching 
such  heights  Jeanne  Fagcls  would 
have  been  a  calm  young  woman, 
able  to  take  life  calmly.  Instead, 
one  met  a  vibrant,  overstrung  per- 
son. There  was  nothing  sane  .about 
Jeanne's  method  of  doing  thing-. 
She  was  restless.  A  strange,  name- 
less fear  haunted  her.  causing  her 
sleepless  nights,  weakening  her 
physically  and  mentally. 

All  the  while  the  public  saw  her 
on  the  heights,  she  was  like  one  be- 
ing consumed  by  some  livid  flame 
within  her. 

Jeanne's  temperamental  fits  were 
uncontrollable.  It  was  like  a  peri- 
odic madness  that  seized  Int..  T' 
spells  became  more  frequent  toward 
the  end.  Finally  the  (lame  of  genius 
spread  beyond  her  control  and  con- 
Mimed  her.  Ibr  pas-in^  was  sadly 
premature,  brought  on  by  the  very 
force  that  made  her  a  great  actl 

One  player  who  snared  near  the 
heights,  but  turned  back,  i-   Bland  Hen 

who  approached  the  flame 


Pola    Negri's   tot- 
by  her  retinue  to 


90 


Is  Acting  Madness? 


Nazimova    moaned,    swayed    and    some- 
times  fainted   after  a  scene,   when   she 
was  the  great  star  of  her  day. 

caught  her  np  in  its  clasp,  and  would 
have,  except  that  she  looked  hack. 

A  player  told  me  no  actress  should 
ever  fall  in  love.  At  least  never  with 
one  man.  For  once  she  has  heheld  the 
flame  of  genius  all  other  forces  wane 
in  power. 

Blanche  turned  from  the  splendor 
she  faced  and  regarded  the  world.  Not 
many  years  ago,  one  saw  her  traipsing 
the  Boulevard,  a  sad-looking  creature. 
Dowdy  clothes,  hair  carelessly  dressed. 
a  fright  of  a  hat.  She  wandered  here 
and  there  hy  herself.  No  one  knew 
where  she  was  going,  or  what  she  in- 
tended to  do. 

She  certainly  wasn't  normal  dur- 
ing that  period. 

The  greatest  admiration  should 
he  given  Blanche  Sweet,  hecause  she 
was  ahle  to  fight  and  reinstate  her- 
self among  the  lights.  Yet  she  can 
never  recapture  the  heights  she  once 
approached,  and  lost.  That  can  be 
done  only  once  in  a  lifetime. 

Once  again — what  is  this  mad- 
ness  called  acting? 

Sir   Henry  Irving,  acclaimed  the 
greatest  actor  of  his  day,  was  asked  this  very  question 
by   some   eager   soul.     Calmly   Sir  Henry   summed   up 
the   whole   matter   in   two   words,    "Imagination,    sensi- 
bilitv." 


Most  of  Hollywood's  stars  refute  this  simple 
statement  by  their  own  strange  behavior  while 
acting.     But  how  should  one  act? 

Shakespeare  made  Hamlet  say  to  actors,  "Let 
your  own  discretion  be  your  tutor  .  . '  .  to 
hold,  as  'twere,  the  mirror  up  to  nature." 
How  many  actors  know  what  discretion  is? 
Warming  up,  Hamlet  further  said:  "O,  there 
be  players  that  I  have  seen  play  and  heard  others 
praise  .  .  .  that  neither  having  the  accent  of 
Christians  nor  the  gait  of  Christian,  pagan,  nor 
man,  have  so  strutted  and  bellowed,  that  I  have 
thought  some  of  nature's  journeymen  had  made 
men,  and  not  made  them  well,  they  imitated  hu- 
manity so  abominably." 

Since  the  talkies,  Hamlet's  advice  bears  added 
bitter  truth. 

Yet,  like  actors,  was  not  Hamlet  inconsistent  in 
several  ways?  He  scorned  the  people  round  him 
for  being  crazy,  yet  he  only  begins  to  be  interesting 
as  a  character  when  he  feigns  madness. 

Hamlet's  love,  Ophelia,  is  likewise  just  so-so 
while  she  is  normal.  In  fact,  she  is  rather  insipid. 
She  becomes  attractive  only  when  she  starts  shriek- 
ing, "Come,  my  coach !" 

Both  these  characters  are  interesting  only  when 
one  feigns  madness  and  the  other  is  mad.  And 
most  of  the  really  great  among  the  stars  are  only 
interesting  when  they  act — when  they  are  aglow 
with  the  flame  of  genius.  Call  it  madness  if  you 
will. 

I've  heard  some  actors  declare  they  must  live 
every  one  of   their  roles — feel  emotionally  every 
act    and    thought    of    the    character    they    portray. 
Others  insist  that  real  acting  should  only  be  mimi- 
cry, but  -so  real  as  to  move  an 
audience    to    tears    with    the 
seeming  reality  of  it. 

Barry  Norton  declares  he 
could  never  ponder  over  his 
acting. 

"I've  got  to  do  things  spon- 
taneously," he  remarked,  ready 
to  strike  out  at  the  slightest 
sign  of  an  argument.  "When 
I  can't  dive  into  a  scene  and 
do  it  then  and  there,  I'll  know 
I  am  no  longer  an  actor  but 
a  technical  player." 

Barry  has  said  at  various 
times  that  he  has  no  imagina- 
tion. Therefore  he  cannot  be 
expected  to  put  Henry  Irving's 
maxim  to  full  use.  Person- 
ally, I  should  say  it  is  rather 
the  other  half  of  the  maxim 
that  Barry  lacks.  However, 
far  be  it  from  me  to  cause  an- 
other argument. 

Different  from  Barry  is  his 
charming  compatriot,  Mona 
Maris. 

"A  player  should  study  the 
role  she  is  to  enact,"  Mona  as- 
serts.    "How  can  you  sing  a 
song  without  knowing  at  least 
the   melody   of    it    first?      To 
plav   a   role,   you   must  know 
exactly    how    the    character    you    are    playing   will    act. 
When  the  time  comes  to  play  it,  cover  your  own  per- 
sonality with  it,  just  as  you  would  throw  on  a  cloak. 
Continued  on  page    116 


"The   flame   of   genius   cannot   be   handled 
lightly,"  says  Lenore  Ulric,  meaning  what? 


THE     LOTTERY     BRIDE 

JEANETTE  MacDONALD,  JOE  E.  BROWN 
and  ZASU  PITTS  place  United  Artists'  new 
Technicolor  musical-romance,"The  lottery 
Bride,"  among  the  hit-headliners  of  the 
current  season.  Don't  miss  this  one. 


Her  charm  made  a  vita 
stimulating  presence 


No  longer  do  screen  limi- 
tations restrict  this  vital  Jeanette  MacDonald  to  shadowy 
motions  in  black  and  gray. 

In  The  Lottery  Bride  she  walks  before  you  a  living 
presence  —  her  color  and  charm  richly  expressed  in  the 
color  and  charm  of  Technicolor. 

Only  in  Technicolor  can  the  true  sweep  of  life  actually 
pass  before  you  on  the  screen.  You  hear,  and  now  you 
see,  people  and  things  actually  as  they  are.  The  true 
image,  the  very  living  presence,  is  yours  to  command — 
through  the  magic  of  Technicolor. 


TECHNICOLOR   PRODUCTIONS 

DIXIANA,  .vith  Bebe  Daniels.  Everett  Marshall,  Bert 
Wheeler  and  Robert  Woolsey  (Radio)  Technicolor 
Sequences,  FIFTY  MILLION  FRENCHMEN,  ull-star 
cast  (Worner  Bros  I  FOLLOW  THRU,  with  Charles 
Rogers  and  Nancy  Carroll  (Poromount);  HELL'S 
ANGELS,  with  Ben  Lyon,  James  Hall,  Jane  Wmton 
an  j  Thelma  Todd  (Caddo)  Technicolor  Sequences, 
SWEET  KITTY  BELLAIRS,  with  Claudia  Dell  ond 
Perry  Askom  (Worner  Bros  ).  THE  LIFE  OF  THE 
PARTY,  with  Winme  lightner  (Warner  Bros.);  THE 
TOAST  OF  THE  LEGION,  with  Bernice  Claire. 
Waller  Pidgeonand  Edward  Everett  Horton  (first 
Notionol).  VIENNESE  NIGHTS,  allstor  cost 
(Worner  Brcs  .  WHOOPEE,  starring  Eddie  Cantor 
n-Florenz  Zieafeld). 


lech 


nicolor 


WANTED! 


w; 

John  Mack  Brown 
Wallace  Beery 

Kay  Johnson 
Karl  Dane 


A  FIGHTER  TO  THE  END— A  LOVER  UNAFRAID! 


A  great  motion  picture  has  come  to  the  theatres  of  the  world. 
A  drama  of  love,  power,  revenge,  greed !  King  Vidor,  who  created 
"The  Big  Parade,"  has  brought  to  the  talking  screen  this  amazing 
story  based  on  the  life  of  that  notorious  "bad  man"  of  the  law- 
less West — Billy  the  Kid.  In  this  picture  M-G-M  has  produced 
for  you  the  most  thrilling  frontier  drama  ever  filmed!  You'll  want 
to  see  the  mighty  Wallace  Beery  give  one  of  the  greatest  perfor- 
mances of  his  career  —  equal  to  his  masterful  triumph  in"The  Big 
have  you  felt  the  power, 


House."  N« 


might  and  maj- 


■  before  i 
esty  of  the  Great  West  as  you  will  experience  it  in  "Billy  the  Kid. 


PRODUCTION 


91 


Five  Famous  Pests 

You've    heard    about    them    a    great    deal,    particularly    old    John 

Doe.   but   never   before    luive   so   many   mythical    character*    been 

tracked    down   and   brought    to   light. 


rhc  h  entleman  on  the  li.cht.  my  hi 

toe    himself,    alias    Benny    Rubin.      No 
t's  in  a  dither  of  apprehension,  for  think 
•      '    •    ints    and    indictn 
rinst  him. 


College,     above. 
Eddie  Nugent  in 

is    fresh    in    col- 
-and  out  — 
and  the  book  he'- 
scanning  is  noth- 
ing   less    than    a 
n    campus - 
olf  ■  | 


Little  Sophie  Glut/ 
—  G  —  the 

raves  :»bout  j 
rival — "and  funny? 
Hi  -  a   ikuh-n 

cam!" — i-    ptu 

I  her  wh 
chap,   your    rival, 

■ 


Karl     Dam, 

who 

with    the 


John  Law  is 
impersonated 

by  CI  it!  Ed 
wards,      left. 
w  h  o    warns 
y  (i  u  against 
driving 
fast    down 

Main  5 
or  too  slow 
h  tin 
dark  out- 
skirts of  any 
small  town, 
■   ■ 

my ! 


92 

Continued  From  page  55 

She  decided  to  dance,  and  was 
whirled  away  across  the  terrace  over- 
looking the  pool,  in  the  arms  of  the 
Stranger.  He  talked  in  a  caressing, 
insidious  voice,  but  Jane  couldn't 
listen.  Everywhere  there  were  fa- 
miliar faces;  she  kept  turning  her 
head  quickly,  trying  to  see  them  all. 
Was  that  Bebe  Daniels  with  Ben 
Lyon?  Wasn't  this  Joan  Crawford? 
(  >h,  surely  the  girl  in  white  was 
Patsy  Ruth  Miller!  Jane  felt  like 
Alice  in  Wonderland. 

"There's  that  Polly  Barker,"  she 
heard  some  one  say.  "Isn't  it  funny, 
she's  just  a  script  girl,  but  she  goes 
everywhere  she  wants  to — people 
seem  to  be  crazy  about  her,  yet  she 
can't  be  earning  more  than  fifty  dol- 
lars a  week." 

"And  how  long  is  it  since  you 
weren't  making  even  that,  darling?" 
came  the  retort.  "Polly  Barker  is 
the  brains  of  any  picture  she's  on. 
She  ought  to  be  cleaning  up  as  a 
scenario  writer  or  assistant  director, 
or  what  have  you,  but  she's  just  one 
of  those  people  who  are  so  good  at 
their  job  they'll  never  be  promoted. 
Say,  did  you  see  the  Spanish  beauty 
over " 

Jane  strained  her  ears,  but  could 
hear  no  more.  If  only  she  could 
know  what  people  thought  about  her 
here,  wdiether  she  was  getting  by  as 
a  Spaniard,  or  whether  they  saw 
through  her  masquerade.  Well,  Larry 
would  be  home  soon,  and  he  could 
tell  her.  Her  heart  warmed  at  the 
thought  of  seeing  him  again,  and  she 
smiled  so  sweetly  at  her  partner, 
without  meaning  to,  that  he  tried  to 
kiss  her. 

She  heard  her  name  mentioned 
again  at  supper.  She  was  sitting  at 
a  small  table,  one  of  a  group  of  them 
placed  in  a  huge  sun  parlor,  all  very 
close  together,  and  the  people  at  the 
next  table  spoke  of  her  casually. 

"Seen  that  girl  Larry  Bishop  dis- 
covered?" a  man  asked.  "She  looks 
like " 

"I  wonder  when  Larry's  coming 
home."  a  woman  cut  in.  "If  I  only 
knew " 

Jane,  imbued  with  the  spirit  of 
friendliness  that  was  so  strong  in  this 
gathering,  turned  to  them  quickly, 
with  an  eager  smile. 

"He  is  to  he  here  in  three  days," 
she  exclaimed,  and  then,  in  explana- 
tion. "I'm  Carmen  Valencia,  and  I 
had  a  wire  from  him " 

The  girl  who  had  wondered  about 
Larry  smiled  back  at  her,  as  she  in- 
terrupted. 

"I. airy  picked  a  winner  in  you. 
Nice  hoy,  isn't  he?  Tell  me,  did  he 
make  love  to  you?" 

Jane's  cheeks  grew  hot. 

"Of  course  he  did — he  always 
does."  another  girl  remarked.    "Which 


Babes  in  Holly-Wood 

story  did  he  tell  you  when  he  made 
his  get-away,  Miss  Valencia?  The 
one  about  a  wife  and  three  children 
in   Sacramento?" 

"Don't  be  unpleasant,  honey," 
urged  one  of  the  men,  and  then,  to 
Jane,  "Did  he  tell  you  about  the  time 
he  got  arrested,  the  night  before 
Easter,  because  he  was  drunk  and 
showed  up  at  an  all-night  restaurant 
with  a  bundle  of  lilies,  determined 
that  each  waitress  should  have  one?" 

Jane  managed  to  smile  at  that,  hut 
the  first  girl  was  talking  again,  laugh- 
ter running  through  her  words. 

"He  did  tell  one  woman  that  he 
had  a  wife,"  she  insisted,  "and  he 
told  another  that  he  had  leprosy, 
when  he  was  bound  she'd  marry  him. 
Oh,  Larry's  our  best  little  heart- 
smasher,  my  dear.  Have. you  heard 
about  what  he  did  to  Paula  Wilding? 
Listen,  honey,  you  play  safe  and  col- 
lect some  nice  young  man " 

Jane  was  on  her  feet,  her  face  blaz- 
ing, her  hands  clenched. 

"I  tell  you "  she  cried  furi- 
ously.    "I  tell  you " 

But  the  man  who  had  interrupted 
was  on  his  feet,  too,  and  at  her  side. 

"Don't  let  them  rag  you.  Miss  Va- 
lencia," he  said  quietly.  "It's  a  cus- 
tom out  here  to  get  a  person's  goat — ■ 
I  mean,  play  little  jokes  on  them.  Do 
you  understand  ?  Did  you  see  those 
two  young  men  who  have  been  cling- 
ing to  the  telephone  all  evening? 
They've  been  phoning  their  friends, 
and  pretending  to  be  some  one  else. 
They  told  one  that  he  would  be  con- 
sidered for  a  movie  version  of  'Mac- 
beth' if  he'd  have  the  part  letter-per- 
fect by  morning;  that's  why  he  isn't 
here — he's  at  home  memorizing  it. 
They  called  another  actor  and  gave 
the  name  of  a  big  director  from  Eng- 
land, saying  this  man  would  call  on 
him  at  once,  to  discuss  a  contract  for 
making  pictures  abroad.  He's  sit- 
ting at  home  waiting.  Last  week 
one  young  woman  went  to  bed  early, 
dog  tired.  A  friend  on  whom  she 
had  played  a  joke  the  week  before 
telephoned  a  lot  of  people,  urging 
them  to  come  right  over  to  her  house, 
as  she  was  giving  a  party.  She  got 
back  to  bed  at  three  in  the  morn- 
ing!" 

"Are 
Jane. 

"Oh,  no.  Just  having  a  good  time. 
Anything  for  a  gag — that's  Holly- 
wood's slogan.  So  you  mustn't  mind 
if  people  have  a  little  fun  at  your 
expense." 

Jane  managed  to  smile,  and  finally 
to  laugh. 

"Theese  joke  was  on  me?"  she 
asked. 

"Not  such  a  joke,  after  all."  one 
of  the  girls  remarked  beneath  her 
breath,    and    the    other    replied,    "If 


she's  fallen  for  Larry,  I'm  sorry  for 
her." 

"Bet  he  promised  to  stop  drinking 
for  her  sake,"  murmured  the  first 
one,  and  they  both  laughed. 

For  Jane  the  party  ceased  to  be  fun 
at  that  moment.  When  she  had  gone 
to  bed,  hours  later,  she  lay  awake  to 
wonder  if  there  was  any  truth  in  the 
things  these  people  had  said.  She 
wasn't  quite  sure,  now,  that  she 
wanted  Larry  to  come  home. 

Mrs.  Markham  woke  her  the  next 
morning  when  it  seemed  to  her  that 
she  had  just  got  to  sleep. 

"They  want  you  at  the  studio," 
she  exclaimed.  "Right  away !  Got 
in  pretty  late  last  night,  didn't  you? 
Listen,  honey,  when  you  get  in  late 
you  call  me — I  thought  I'd  hear  you, 
but  I  dozed  off  at  two  and  just  slept 
right  on.  I  could  rub  your  ankles 
and  back  so's  you'd  be  rested — have 
to  look  your  best  all  the  time  out 
here,  you  know."  She  scrutinized 
Jane's  face  anxiously.  "Here's  your 
coffee — drink  it  quick  and  I'll  bring 
you  some  ice.  Better  let  me  rub  it 
on  your  face  for  you — too  bad  there 
ain't  time  for  a  regular  massage." 

Jane  rushed  to  the  shower  bath, 
and  within  an  hour  was  starting  for 
the  studio.  Oh,  surely  they'd  let  her 
work  in  her  own  picture  this  time ! 

She  was  hurried  to  a  dressing 
room,  where  a  hairdresser  awaited 
her.  Some  one  else  put  on  her  make- 
up— a  clever-looking  girl,  whose  fin- 
gers worked  like  magic.  Deftly  she 
shaded  Jane's  eyes,  making  them 
larger ;  critically  she  stood  off  and 
stared,  then  bent  forward,  to  add  just 
the  touch  that  made  Jane's  mouth 
more  piquant,  her  cheeks  more  oval. 

"How  have  you  learn  to  do  this?" 
asked  Jane  admiringly,  surveying  the 
finished  countenance,  which  hardly 
seemed  to  belong  to  her. 

"Wanted  to  be  a  portrait  painter," 
answered  the  girl  bitterly.  "To-mor- 
row I  can  do  better  with  you — I  have 
to  get  to  know  a  face  before  I  can 
do  my  best." 

On  the  set  things  went  less  swiftly. 
Jane,  gazing  upon  the  front  of  a 
castle  and  the  gardens  beneath  it, 
thought  the  set  was  perfect,  but 
everybody  wanted  to  change  some- 
they     crazee?"     demanded     thing.    And  when  everything  else  was 

ready,  a  man  who,  some  one  said,  was 
the  head  cameraman,  knelt  down  in 
front  of  the  cameras,  glanced  things 
over  perfunctorily,  and  said  a  few 
curt,  biting  sentences,  whereupon  the 
director  threw  up  his  bands  and 
walked  away  and  people  rushed 
around,  changing  things  back  again. 

Jane  sat  in  a  canvas  chair  with  her 
name  on  the  back  and  waited.  Fi- 
nally she  ate  luncheon  in  her  dressing 
room,  had  her  make-up  touched  up. 
Continued  on  page  94 


93 


^The  Gang  Claims  its  Oxtfn 

Miniature   golt   was   invented   for   just    such    pocket-size    players   as   these. 


There  are  no  : 

gnyi 
Tom 
prdb- 

seriously   and   admit   there   is   a 
km.      Bu-  left, 

cture,  and  jn 

irina. 

rm  and  the 

like:  then  Mary 


'! 


By  way  of  making   coi 

inp  the  ball  rolling,  if  you  will  be  that  way 

— just  bow  many  w 

who  prow  pale  and  wan   fron 

hubby    plays    golf?      And    that 

and    I>'  r  • 
middle,  who  take 
■ 

are  Mary  Ann  Jackson  and    I 
Fur    a    ki- 

91.     Th< 

itb. 


94 

Continued  from  page  92 
and  waited  some  more.  About  three 
in  the  afternoon  she  and  the  famous 
female  impersonator,  to  whom  she 
took  an  instant  dislike,  did  a  few 
scenes,  which  seemed  tn  consist  of 
nothing  but  going  in  and  out  of  d<  ><  »rs, 
and  then  she  was  dismissed  for  the 
day. 

The  next  day  was  better.  A  lot  of 
extras  rushed  about  in  a  scene  in  the 
market  place,  and  Jane  made  her  way 
through  them,  supposedly  in  an- 
guished search  of  the  female  imper- 
sonator, who  in  real  life  was  stand- 
ing off  at  one  side,  discussing  a  recent 
prize  fight  with  the  publicity  man. 
Also,  the  director  announced  that 
they  were  ready  for  one  of  Jane's 
songs,  the  one  she  had  sung  for 
Larry  when  he  made  the  test  of  her. 

Trying  not  to  show  how  nervous 
she  was,  she  sang  it. 

"That's  great !"  he  exclaimed.  "A 
perfect  love  song." 

"It's  a  lullaby,"  Jane  objected. 

Tie  stared  at  her  blankly,  and  the 
cameraman  said  something  about  di- 
rectors who  didn't  read  their  scripts. 

"I'll  tell  you,"  the  director  ex- 
claimed. "We'll  just  have  you  say 
to  him  T  love  you  so  much  that  I 
feel  like  a  mother  to  you' — that'll  lead 
up  to  it.  The  scenario  writer  should 
have  written  in  a  scene  like  that." 

"She  did!"  came  in  stentorian 
chorus  from  every  one  around  him. 

He  looked  slightly  disgruntled,  and 
said  hastily  that  the  song  wouldn't 
be  recorded  till  the  following  day. 
Meanwhile  they'd  go  on  with  the  next 
shot.  Whereupon  he  was  informed 
that  the  set  wasn't  ready  for  it — "as 
he  knows  perfectly  well,"  some  one 
remarked. 

"No  wonder  the  production  cost 
runs  up,  when  I  get  no  cooperation 
around  here!"  he  stormed.  "Now, 
to-morrow  I  want  things  ready ! 
We'll  shoot  your  dance  to-morrow, 
Miss  Valencia — be  ready." 

So  tired  that  even  her  eyelids 
ached.  Jane  went  home,  ate  some 
bread  and  milk  and  then  locked  her 
door.  She'd  have  to  do  something 
about  this  dance.  For  a  moment  she 
thought  of  consulting  Tilly  Mark- 
bam,  who  seemed  to  know  everything, 
and  would  probably  recall  a  Spanish 
dance  that  somebody  had  done  in  a 
picture  she  had   worked   in. 

But  that  wouldn't  do,  of  course. 
TTow  was  it  that  those  Spanish  dances 
went?  Doggedly  she  set  to  work, 
Striving  to  remember  the  steps  of  a 
tango  some  one  had  danced  at  Angie 
Clement's,  trying  to  recall  the  movi 
ments  a  street  dancer  in  Majorca  bad 
made  with  her  fan. 

The  dance  was  postponed  till  after- 
noon the  next  day.  When  at  last  she 
stood  up  to  begin,  Jane  was  so  cold 
her    teeth,   chattered,    and    her    knees 


Babes  in  Hollywood 

were  trembling  beneath  her  long 
gauzy  skirt.  The  extras  were  as- 
sembled,  the  principals  stood  about, 
carefully  placed,  the  orchestra  fin- 
ished a  final  rehearsal. 

"<  )h,  I  can't  do  it,"  Jane  moaned. 
"I  can't  !" 

"Sure  you  can!"  exclaimed  a  man's 
voice,  just  behind  her.  A  familiar 
voice  that  had  talked  and  talked  to 
her,  all  the  way  from  Majorca  to 
Paris,  a  voice  that  had  said  "Good- 
by.  darling."  when  the  boat  pulled  out 
at    Cherbourg,    leaving    her    desolate. 

"Larry  !"  she  cried,  whirling 
around.     "Oh,  Larry!" 

"All  right.  Miss  Valencia,"  the  di- 
rector exclaimed  impatiently.  "That's 
your  entrance  music." 

"Go  to  it,  baby,"  Larry  whispered, 
giving  Jane  a  little  shove.  "If  any- 
body finds  fault,  tell  'im  that's  the 
way  they  do  it  in  Spain." 

Her  heart  thumping  a  joyous  tat- 
too, Jane  glided  out  into  the  lights, 
head  tilted  coquettishly,  one  arm 
holding  her  fan  high. 

She  hardly  knew  that  she  was 
dancing.  Larry  was  here,  was  watch- 
ing her,  waiting  for  her ! 

"All  right,"  the  director  said  when 
she  had  finished.  "Of  course,  I  know 
that's  real  Spanish  stuff,  but  couldn't 
you  change  it  a  little — do  a  few  kicks, 
for  instance,  to  show  your  legs? 
That's  what  the  public  wants." 

Larry  stepped   forward. 

"You  certainly  know  your  box 
office,  Bill,"  he  exclaimed.  "But — 
well,  you  know,  J.  G.  wants  this  pic- 
ture to  be  a  knock-out  in  Spain,  as 
well  as  here,  and  the  Spanish  are 
pretty  touchy — they  might  not  like  it 
if  this  dance  was  Americanized." 

"Well,  I  thought  of  that,  too,"  the 
director  agreed  hastily.  "We  can 
leave  the  leg  stuff  to  the  chorus,  of 
course.  All  right,  Miss  Valencia — 
just  run  through  it  again,  please." 

Jane  shuddered.  How  on  earth 
could  she  do  that  dance  again  when 
she'd  made  it  up  on  the  spur  of  the 
moment  ? 

"I — I  weel  try  to  make  it  more  like 
you  say,"  she  told  the  director,  and 
began  again,  swaying,  bending,  twist- 
ing, adding  a  kick  or  two  when  she 
couldn't  think  of  anything  else  to  do. 

Off  the  set  at  last,  and  at  liberty 
for  the  day,  she  turned  eagerly  to 
Larry. 

"Oh,  I'm  so  glad  you've  come!" 
she  whispered.  He  held  her  hands 
tightly  in  his  and  looked  down  into 
her  eyes  as  if  he  would  never  look 
away — she  had  to  talk  fast,  almost  at 
random,  to  avoid  losing  control  of 
herself.  "I'm  scared.  They've  held 
up  this  picture  so  long " 

"I  know;  I  heard  about  it."  he  an- 
swered. "Never  mind,  honey;  we'll 
have  a  long  talk  to-night " 


"Well,  if  it  isn't  my  little  play- 
mate !"  Both  turned,  to  see  Paula 
Wilding  advancing,  her  hands  out. 
"Larry  dear!"  She  stood  on  tiptoe 
to  kiss  him.  "You've  come  back  just 
in  time !" 

"Just  in  time  to  see  you  looking 
more  gorgeous  than  ever,  darling,"  he 
answered,  apparently  quite  sincere. 

Jane  drew  away.  He  was  talking 
to  this  other  woman  just  as  eagerly, 
looking  at  her  just  as  adoringly,  as 
he  had  talked  to  her! 

"You're  better  looking  than  ever, 
yourself,  handsome,"  Paula  retorted. 
"And  you  have  a  lot  of  explaining  to 
do,  young  man.  I'm  going  to  take 
you  home  to  dinner  with  me — come 
along  to  my  bungalow  while  I 
change." 

She  stood  there,  one  hand  thrust 
possessively  through  his  arm.  Larry 
turned  to  Jane. 

"See  you  to-morrow,"  he  said  cas- 
ually.    "Are  you  working?" 

Jane  couldn't  speak.  Rage  con- 
stricted her  throat,  made  her  lips  feel 
as  if  they  would  never  move  again. 
She  could  not  even  walk  away,  could 
only  stand  there,  motionless,  hating 
him. 

She  knew  that  he  wanted  to  say 
more ;  knew,  somehow,  that  this  en- 
gagement with  Paula  was  not  to  his 
liking,  yet  she  was  too  angry  to  be- 
lieve what  her  heart  told  her.  What 
if  his  eyes  did  beg  her  to  understand? 
The  very  first  night  that  he  was  home 
he  was  giving  to  this  Wilding  woman  ! 

"Or,  if  you'll  be  home,  I'll  come  to 
see  you  there,"  be  went  on  quickly. 

Jane  lifted  her  head  proudly,  found 
her  voice  somehow. 

"To-morrow  I  am  ver'  beezee,"  she 
said  coldly,  and  walked  away. 

She  went  home  without  taking  off 
her  make-up,  to  the  great  interest  of 
the  group  of  tourists  who  were  being 
turned  away  by  the  doorman  as  she 
left  the  studio.  Wearily  she  dragged 
herself  into  the  house,  to  find  Tilly 
Markham  gloomily  awaiting  her. 

"That  interpreter  fellow  you  had 
the  first  day.  he's  suing  you,  like  he 
said  he  would."  she  announced.  "And 
you  got  a  cablegram  from  that  place 
you  come  from,  I  guess,  saying  some- 
body's broke  her  leg.  And  a  man 
was  here  who  said  he'd  wrote  you 
and  sent  you  a  diamond  bracelet  on 
approval  and  you  never  sent  it  back. 
And  there's  some  letters  that  was 
forwarded  to  you  from  some  foreign 
place — I  ain't  opened  those — but  I 
guess  you'd  better."   • 

Obviously  she  expected  the  worst, 
even  from  letters.  So  did  Jane. 
When  she  got  around  to  them,  after 
learning  that  it  was  her  mother  whose 
leg  was  broken,  she  found  that  Mrs. 
Markham's  expectations  were  right. 
Continued  on  page  113 


They  Won  the  War 

Those  noble  l.ids  who  stood  heroically  at   their   posts   in   the 
company    kitchens    are    .11    List    properly    honored. 


Hollywood  restaui 
.  -  with  lh<  • 

I\     P    ' 
tuc     '■'■     1 
mous    appctiti 
tin  d    tli.it 

111  u  -  t      be 
espcctall)    during    the 
hours    t  h  .1 1    players 
meet  tin   local  sci 
to    frame    up    st< 

ricullural  and 
philosophical 


Jack 

;■>  be  reflecting 
on  life  an 

a    habit    of    showing    up    at 

turn,  an  old   >pi: 

• 

find   them 
a  part  ol  meal 

• 

I  ;•'  K.  1 
tion.   after   he    • 
and    ' 

little    boy's    a;  he's 

brother  a  bit 

I    better    keep    the 


"You're  in  the  armj   now,"  Bus 
u-r    Keaton,    ci  mrly    re- 

;^    he    doggedly    go<  -    on 
making  the  world  safe  for  > 

ries    ;inil    C  <>  "i  e  <1  y    in    "I  ' 
Boj  v" 

"Yeah?"  quirt*  Eddie  Foy,  Jr., 
below,  to  Irene  Dunne,  in  the 
gentii  1  a~- 

■  \    \'<    lead    the    preliminary 
skirmish  against  the  Iri-h  t'- 
in    "LeathcrnecV 


96 

ntinued  from  page   12 
Frederick  Better  than  Chatterton. 
Here's  to  Emma  Hartcorn,  whose  letter 

I    read   in   PlCTl  RE   l'l-.w.      1    should   like   to 

congratulate  her  on  being  the  first  fan 
with  whom  1  entirely  agree,  and  I  con- 
cur with  her  in  everything  she  has  writ- 
ten about  Pauline  Frederick  and  Ruth 
Chatterton. 

There  are  many,  of  course,  who  will 
uphold  Ruth  Chatterton  as  the  reigning 
queen  of  tragedy  on  the  screen,  placing 
her  great  success  against  the  infrequent 
appearances  of  Miss  Frederick.  I  should 
like  to  remind  fans  that  since  Ruth  Chat- 
tel ton  has  been  a  star  she  ha-  been  given 
good  stories  and  intelligent  dialogue, 
where, i-  .\li-s  Frederick  never  seems  to 
a  role  in  which  her  great  talent  is 
done  justice  to.  But  she  is  still  the  queen 
of  tragedy  on  the  screen,  and  there  is,  as 
yet,  no  other  actress  to  take  her  place. 

When  I  think  of  Miss  Chatterton's  por- 
trayal of  Madame  X  and  likewise  Miss 
Frederick's,  on  the  stage  as  well  as  on 
the  screen,  it  is  the  lattcr's  portrayal  that 
-tamps  itself  indelibly  in  my  memory.  I 
think  Miss  Chatterton  is  more  fitted  for 
the  subtle,  sophisticated  roles  that  she 
plavs  in  such  films  as  "Charming  Sinners" 
and  "The  Laughing  Lady."  For  me  she 
does  not  hold  any  tragic  appeal,  and  her 
voice  seems  a  little  too  perfect;  one  you 
love  to  listen  to,  but  which  fails  to  touch 
the  heart. 

Consider  Pauline  Frederick.  Can  her 
admirers  ever  forget  her  truly  tragic 
genius?  She  is  tragedy,  her  very  name 
spells  it,  and  she  is  the  only  actress  who 
really  looks  the  tragic  roles  she  portrays. 
There  is  a  sadness  in  the  depths  of  her 
eyes  that  none  of  the  other  stars  who 
have  attempted  tragic  acting  possess.  I 
mav  he  wrong,  but  I  do  not  think  Ruth 
Chatterton  possesses  this  outward  expres- 
sion of  inward  feeling.  Neither  does 
Gloria  Swanson.  Norma  Talmadge,  nor 
Pola  Negri.  Every  one  of  them  splen- 
did actresses,  but  none  of  them,  in  my 
opinion,  is  the  epitome  of  real  tragedy. 
Ruth    Stagg. 

211    The   High    Street. 

Putney,    London,    England. 

Genius  and  Negative  Fluff. 

It  is  lamentably  tragic  that  America's 
best  actress,  Lillian  Gish,  should  be  ig- 
nored by  producers  and  fans  alike.  Why 
should  such  genius  as  the  Gish  absent 
itself  from  the  screen,  while  undue  fuss 
i-  made  over  negative  fluff  like  Clara 
Low.  Alice  White,  Billie  Dove,  and  Anita 
Page? 

Who  can  ever  forget  Miss  Gish's  amaz- 
ing  histrionics  in  "Broken  Blossoms," 
"Way  Down  East,"  "Orphans  of  the 
Storm."  "The  Scarlet  Letter,"  and  last 
but  not  least,  "The  White  Sister"? 

There  are  only  three  other  actresses  on 
the  screen  to-day  who  can  be  classified 
in  the  Gish  category— Norma  Shearer 
Marie  Dressier,  and  Ruth  Chatterton. 

Even  the  current  sensation  of  the  hour, 
Greta  Carbo,  cannot  hold  a  candle  to  the 
Gish.  Always  the  same  personality,  she 
doc-  not  ri-e  to  the  artistic  standards  set 
for  her  in  "Anna  Christie."  It  takes  more 
than  a  personality  to  put  artistry  into  a 
role.  That  is  why  Marie  Dressier  ran 
away  with  the  artistic  honors  in  this  pic- 
ture. 

If  personality  counts  first,  topping  that 
of   genius,   then   tile    Garbo   has   triumphed 
over  the  Gish — a  regrettable  situation. 
George  A.  Abb  ate. 

630  Mary  Street, 
Utica,    New    York. 

As    They    See    Themselves. 
Recently,  Picture  Play,  with  a  stinging 


What  the  Fans  Think 

criticism  from  London's  Miss  Leonara  de 
Furneaux,  aroused  my  wrath  to  the  >/th 
degree.  We  don't  believe  here  in  America 
that  only  flappers  have  fun.  What  is  fun 
to  the  sixteen-year-old  is  utter  boredom 
to  the  twenty-one-year-old.  The  term 
"flapper"  is  passe".  Miss  1930  is  not  the 
gin-toting,  blaspheming  flapper  of  1925. 
She  is  a  girl  smart  in  her  dress,  her  man- 
ner, who  dances  until  dawn,  perhaps,  rides, 
swims,  plays  golf  and  tennis,  drives  her 
own  car,  is  perhaps  in  the  business  world, 
straightforward  in  her  dealings,  detest- 
ing shams,  deceit,  and  believes  in  "live 
and  let   live." 

Anita  Page,  Sue  Carol,  and  Joan  Ben- 
nett are  the  personification  of  American 
youth.  Ridicule  them,  you  are  making 
sport  of  thousands  of  girls  who  love  clean, 
sparkling,  gay  times.  What  is  a  dance 
without  its  chic  Joan  Bennett?  Why 
throw  cold  water  on  William  Haines,  the 
wisecracker  who  can  be  serious  or  make 
you  roar  with  his  smart-Aleck  ways? 
He's  a  real  person,  the  sort  you  love  to 
have  drop  in  on  you  any  time. 

Worst  of  all,  Miss  de  Furneaux  writes 
that  Rudy  Vallee  is  an  incompetent  ado- 
lescent. When  is  adolescence?  Rudy  Val- 
lee, class  of  '27,  Yale,  age  thirty,  height 
five  feet  ten  and  one  half  inches,  an  ado- 
lescent ?  Absurd !  He  has  been  the  tar- 
get of  unfair  criticism,  which  he  doesn't 
deserve. 

Miss  de  Furneaux,  wouldn't  you  adore 
having  Rudy  Vallee  beau  you  around 
through  New  York's  supper  clubs?  Or 
William  Haines  chase  the  little  pill  over 
a  sun-baked  course  with  you?  Or  take 
tea  with  Anita  Page?  Then  play  cricket 
and  admit  that  the  five  persons  you  gave 
the  cold  water  to  aren't  so  bad,  after  all. 
We  all  love  good  sports. 

Any  more  brickbats  for  the  younger 
generation?  We  aren't  going  to  the  dogs, 
neither   are   we   clinging   vines. 

Margot  Eileen  Draper. 

Elbridge,   New  York. 

It's  the   Manner,  Not  Accent. 

In  September  Picture  Play  H.  T. 
Bradley,  an  Englishman  living  in  Amer- 
ica, expressed  the  opinion  that  England 
can  never  produce  pictures  like  those 
filmed  in  California.  Well,  Mr.  Bradley, 
until  last  year  I  would  have  agreed  with 
you.  I  had  always  rated  American  silent 
films  the  best,  with  the  exception  of  Ger- 
man productions,  which  were  unfortu- 
nately few  and  far  between.  Since  talkies 
have  come  into  being,  however,  there 
seems  to  have  been  a  revolution  in  film 
matters  in  this  country,  and  now  Britain 
is  producing  talkies  equal  to  the  best  that 
America  can  offer.  They  are,  naturally, 
not  so  profuse,  but  the  quality  is  excellent. 
Thej'-  are  founded  on  good  plays  and  sto- 
ries— not  the  vulgar,  empty,  showy  stuff 
one  sees  so  much  of  these  days.  I  love 
the  really  good  American  talkies,  such  as 
"The  Last  of  Mrs.  Cheyney"  and  "Bull- 
dog Drummond,"  but  British  productions 
such  as  "Atlantic,"  "Blackmail,"  and  "The 
Crooked  Billet"  are  every  bit  as  good. 

I  have  a  great  many  favorites  among 
American  stars.  They  include  Ruth  Chat- 
terton, Norma  Shearer,  Pauline  Frederick, 
Kay  Johnson,  and  Lois  Moran.  I  love 
them,  not  only  for  their  excellent  acting, 
but  for  their  speech.  It  is  good  to  hear 
stars  who  can  talk  in  an  educated  and 
refined  manner,  whether  with  an  English 
or  American  accent.  That  is  a  matter  of 
personal  taste,  and  I  am  impartial.  What 
really  counts  is  that  an  artist  talks  in  a 
cultured  fashion.  I  have  observed  that 
the  "Oh,  yeah"  type  of  actress  is  usually 
playing  the  flimsy  sort  of  films  which  one 
enjoys    in    passing   and    forgets.      I    think, 


Mr.    Bradley,    that    in    Britain    there    are 
fewer  films  and  players  in  this  category. 

M.  R. 
Aberdeen,    Scotland. 

Necking   Divorcees  and  Dizzy  Youth. 

Why  can't  we  have  more  pictures  like 
"Ben-Hur"?  Pictures  full  of  cabarets, 
hooch  parties,  flirting  widows,  and  neck- 
ing divorcees,  who  have  no  regard  for 
the  sacredness  of  motherhood  and  real 
love,  should  be  eliminated  from  the  screen. 
They  certainly  don't  put  high  ideas  in  the 
minds  of  our  young  folk.  The  field  of 
literature  is  so  big  and  full  of  fine  books, 
why  waste  money,  time,  and  talent  in 
filming  cheap  literature?  Pictures  made 
from  Shakespeare,  Dickens,  et  cetera, 
would  be   of   great  value  to  students. 

This  country  is  jazz-mad.  The  young 
people  are  a  bunch  of  hair-raising  boop- 
boop-a-doopers  in  a  hurry  to  get  some- 
where and  no  place  to  go  when  they  get 
there.  Well,  let  them  have  their  jazz. 
Surely  there  is  enough  of  it  written  with- 
out taking  music  from  the  great  com- 
posers, chopping  it  up,  mixing  it  with 
popular  music,  and  then  playing  the  whole 
in  one  mess  of  howls,  whines,  and 
squawks.  There  certainly  should  be  a 
ban  upon  classical  music  being  played 
in  the  theater,  unless  it  is  played  the  way 
it  is  written.  I  know  there  are  people 
who  will  say:  "Classical  music  is  old- 
fashioned.  People  don't  like  it  nowadays. 
Well,   they   show  their   ignorance. 

There  is  nothing  more  disgusting,  vul- 
gar, and  degrading  than  some  of  the  com- 
edies and  screen  vaudeville.  I  like  a  good 
comedy  and  can  laugh  as  much  as  any 
one  when  I  see  something  funny.  But  I 
see  nothing  funny  in  ridiculing  and  cheap- 
ening love.  Some  of  those  short  selec- 
tions made  to  take  the  place  of  vaudeville 
simply  reek  with  vulgarity. 

Gweneth    Joyce. 

18  Elm  Street. 

Toronto  2,  Canada. 

Ralph  Rises  to  Remark. 

In  September  Picture  Play  there  were 
two  letters  that  stood  out.  One  from  a 
girl  in  Peoria,  Illinois,  was  absolutely 
correct.  She  came  light  to  the  point  and 
stated  that  Greta  Garbo  had  neither  good 
looks  nor  talent.  The  second  letter  was 
signed  by  a  lady  in  Toronto,  Ontario.  I 
never  read  a  more  ridiculous  group  of 
statements  in  my  life.  She  said  that 
Greta  Garbo  is  the  greatest  actress  in  Hol- 
lywood or  anywhere  else.  She  also  said 
that  in  all  her  films  she  has  brought  her 
leading  men  to  fame,  including  John  Gil- 
bert and  Nils  Asther. 

On  the  contrary,  she  has  been  com- 
pletely outclassed  by  her  supporting  cast 
in  every  picture  in  which  she  has  appeared 
in  America.  The  way  the  producers  con- 
tinue to  palm  her  off  on  the  public  proves 
conclusively  that  P.  T.  Barnum's  famous 
saving  is  correct. 

There  is  somebody  else  that  I  would 
like  to  make  a  complaint  about — Buddy 
Rogers.  According  to  me,  he  ranks  sec- 
ond to  G.  G.  in  being  the  most  publicized 
person  in  the  country.  He  is  good-look- 
ing, but  he  has  no  monopoly  in  that  mat- 
ter. Stanley  Smith,  who  is  the  same 
tvpe  as  Mr.  Rogers,  is  far  better  in  looks 
and  talent.  Rudy  Vallee  completely  out- 
classes him  in  every  way. 

Ralph  "Porter. 

102  Bartlett  Avenue, 
Arlington,    Massachusetts. 

Twenty  Joys   and   Woes. 

Why  I  thank  the  man  who  invented 
talking  pictures : 

Continued  on  page  100 


97 


Shangkaied 

That's  what  happens  to  Jack 
Oakie,  in  "Sea  Legs,"  but  he 
suffers  no  hardships,  for  he 
finds  aboard  the  Quutre  Juillct. 
which  is  French  for  Fourth  of 
July,  none  other  than  Lillian 
Roth,  to  say  nothing  of  a  bevy 
of   other    girls. 


Mr.     O.ikii .     :  -  "Searchlight" 

as  lightweight  champion 
of  i!'  finds  himself  .1 

ind  in  loyalty  to  Sainte  Cas- 
sette, a  mythical  island  republic.  Sup- 
to  Ik-  a  man  who  is  trying  t<> 
navy,  Search- 
light is  treated  a<  a  slacker  until  lie  is 
identified  a<  an  American — surely  not 
a   hard    task    :  >ne! — and    what 

with    songs    now    and    then,    a    sailors' 
fracas  in  a  pastry  shop,  a<  well  as  the 
romedy  which  has   lilted   Mr. 
to  stard>>in.  there  promise-  I 
not   a  dull  moment   in   the   picture. 


P  teinth  A7- 

touche;  Lillian  Roth,  ;h  Adricmu 
Mr.    Oakie    are    a    high-spirited    trio 
fun  never  n 
1  to  come  out  of   hidi 

irio  writer.     It'-  always 
just  waiting    for   I  i  ra  to 

grind. 


98 

itinued   from  page  65 
A    Pearl    Diver's    Peril. 
Because  of  Richard  Aden's  popu- 
larity— based  on  good  acting  and  an 

agreeably  honest  personality — "The 
Sea  God"  is  worth  seeing,  even  if  it 
isn't  a  picture  to  cheer  about.  "It's 
an  interesting  film,  though,  some- 
thing on  the  order  of  an  installment 
of  a  serial,  and  that's  saying  a  lot  in 
these  days  of  pictures  retarded  by 
dialogue.  Action  and  suspense  pre- 
dominate, whether  you  believe  them 
01  not.  We  see  Mr.  Arlen  as  "Pink" 
Barker,  owner  of  a  ship  in  the  South 
Seas,  who  is  beset  by  a  villain  about 
to  steal  his  sweetheart  from  him. 
We  see  also  rival  expeditions  to  the 
Solomon  Islands,  where  pearls 
abound,  according  to  the  dying  words 
of  a  derelict  named  "Pearly  Nick." 
Also  there  is  Mr.  Aden's  descent  to 
the  bottom  of  the  ocean,  the  sudden 
appearance  of  savages  who  attack  the 
crew  aboard  his  boat,  his  cutting  of 
the  line  that  connects  him  with  the 
upper  world,  and  his  miraculous  ap- 
pearance among  the  cannibals  as  a 
"Sea   God." 

Just  how  Pinky  manages  without 
air  in  his  progress  from  the  ocean's 
bed  to  the  savages'  lair  is  something 
you  mustn't  ask  me.  He  rescues  his 
girl  from  the  aborigines,  saves  also 
Eugene  Pallette.  and  while  you  see 
him  with  none  of  the  pearls  for  which 
he  risked  his  life,  he  manages  never- 
theless to  be  the  central  figure  in  a 
picture  that  isn't  boring. 

Fay  Wray  is  the  girl,  most  excel- 
lently presented,  and  Robert  Gleckler, 
the  villain,  is  good.  too.  Ivan  Simp- 
son, as  Pearly  ATick,  portrays  the 
most  believable  character  of  all. 

Shipwrecked — With  Music. 
"Let's  Go  Native"  seesaws  be- 
tween high  excellence  and  low  dull- 
ness, but  there  is  enough  of  the  for- 
mer to  make  it  rather  entertaining 
on  the  whole.  Its  merit  lies  in  a 
quality  of  mad  comedy  that,  in  spots, 
is  nothing  less  than  inspired  lunacy ; 
its  defects  consist  of  a  puerile  story 
and  the  intrusion  of  song  for  no  rea- 
son at  all.  For  this  is  a  throw  back 
to  the  time  when  musical  comedy  had 
its  day  on  the  screen.  A  chorus 
emerges  from  nowhere  to  execute  a 
precision  dance  on  the  deck  of  a 
steamer,  and  conversation  between 
two  characters  is  interrupted  by  a 
duct  about  "springtime  in  my  heart" 
or  something  similar.  However,  the 
comedy  is  brilliant  at  times  and  the 
i  is  of  the  first  order — Jeanette 
MacDonald,  Jack  Oakie,  James  Hall, 
William  Austin,  Kay  Francis,  and 
Richard  Gallagher.  Miss  MacDon- 
ald gives  evidence  of  that  flair  for 
comedy  which  makes  her  acting  so 
admirable  in  "Monte  Carlo,"  but  it  is 
Mr.   Oakie  who  runs  away  with  the 


The  Screen  in  ReViev? 

picture,  though  it  was  made  before 
he  became  a  star.  As  Voltaire  Mc- 
GinniSj  a  taxi  driver,  he  is  splendid. 
He,  with  the  rest  of  the  characters — 
an  oddly  incongruous  assortment  of 
humans — is  shipwrecked  and  cast 
upon  a  South  Sea  Island  where  Mr. 
Gallagher,  late  of  Brooklyn,  is  king. 
It's  that  sort  of  absurdity. 

A  Toy  of  Fate. 

Mary  Nolan  grows  more  and  more 
interesting  as  her  pictures  grow  less 
and  less  important.  This  is  unfor- 
tunate, for  it  makes  all  the  more  diffi- 
cult the  uphill  climb  before  her  until 
she  reaches  the  position  she  deserves, 
if  ever.  With  such  beauty  as  hers, 
talent  might  be  taken  for  granted. 
But  such  is  not  the  case.  Miss  No- 
lan's command  of  emotions  is  certain 
and  sure,  and  she  is  more  sympathetic 
than  the  situations.  All  this  is  evi- 
dent in  "Outside  the  Law,"  a  toler- 
ably interesting  crook  opus  in  which 
the  characters — -even  Miss  Nolan — • 
are  just  a  bit  too  hard-boiled  and 
strive  rather  too  hard  to  talk  out  of 
the  corner  of  their  mouths  to  be 
real,  Owen  Moore  monopolizing  this 
doubtful  feat.  The  plot  is  reminis- 
cent of  many  since  the  picture  was 
produced  twice  in  the  silent  era.  A 
gang  leader,  a  gunman,  and  his  moll, 
and  the  child  of  a  policeman  who 
stirs  the  girl  to  maternal  yearnings, 
their  eventual  capture  and  sentence, 
with  the  inference  that  freedom  will 
bring  the  wanted  baby.  The  police- 
man's boy  is  played  by  Delmar  Wat- 
son, who  is  touchingly  natural  in  the 
role,  even  as  Billy  Kent  Schafer  was 
in  one  of  the  film's  silent  incarnations 
some  years  ago. 

A    Quartet    of    Lunatics. 

For  those  who  like  the  Marx 
Brothers — and  judging  by  the  crowds 
which  throng  theaters  where  their 
picture  is  shown,  it  seems  there  are 
few  who  do  not — "Animal  Crackers" 
comes  as  a  verdant  oasis  in  a  month 
comprised  principally  of  pretty  dull 
films.  Designed  simply  as  buffoon- 
ery to  exploit  the  talents  of  the  stars, 
the  picture  keeps  audiences  in  gales 
of  laughter.  People  who  want  to 
take  home  from  the  theater  some- 
thing to  think  about  ma}'  find  fault 
with  it,  but  the  others — and  they  seem 
to  be  in  an  overwhelming  majority — ■ 
accept  the  film  at  its  face  value,  one 
long  guffaw,  and  let  it  go  at  that.  It 
comes  to  the  screen  as  an  unusually 
faithful  adaptation  of  the  stage  mu- 
sical of  the  same  name,  with  Groucho 
in  almost  complete  charge  of  the 
proceedings,  Flarpo,  Chico,  and 
Bcppo  lending  their  customary  as- 
sistance. Most  of  the  stage  cast  have 
been  retained  and  give  a  good  ac- 
count   of    themselves.      For    picture 


purposes  Lillian  Roth  has  been  added 
— possibly,  as  one  unkind  critic  re- 
marked, for  the  purpose  of  filling 
out  a  contract. 

A  Misfit  in  Khaki. 
Buster  Keaton's  new  comedy, 
"Dough  Boys,"  is  rather  worth 
while,  especially  if  Mr.  Keaton  is  a 
cult  with  you,  though  when  all  is  said, 
it  is  diverting  rather  than  remarkable 
or  original.  As  you  gather,  it  is  a 
comedy  of  the  army,  with  Mr.  Kea- 
ton in  his  unusual  characterization — 
that  of  a  goofy  misfit  whose  adven- 
tures have  wistful  appeal.  When  he 
undergoes  examination  for  enlist- 
ment, he  says  that  he  is  associated 
with  his  father,  and  when  pressed  for 
bis  father's  business,  he  says  that  he 
is  retired.  From  which  you  know 
that  is  letting  himself  in  for  a  great 
many  difficulties.  There's  a  girl,  a 
hostess  at  a  canteen,  most  agreeably 
played  by  the  pretty  Sally  Eilers,  and 
there  is  also  Cliff  Edwards  who 
shares  with  Mr.  Keaton  all  the  mis- 
adventures in  no  man's  land.  Bru- 
tally realistic  is  Edward  Brophy,  who 
was  such  an  important  factor  in  the 
comedy  of  "Our  Blushing  Brides." 
Flere  he  is  a  bullying  sergeant  to  the 
life.  He  plays  the  role  with  more 
adroitness  than  you  might  expect  and 
adds  greatly  to  the  vigor  of  the  pic- 
ture. 

"The  Last  of  the  Duanes." 
"The  Last  of  the  Duanes"  is  a 
fast-moving  Western,  considerably 
above  the  average,  particularly  in  the 
earlier  sequences.  Buck  returns  un- 
expectedly to  his  home  to  find  that 
bis  father  has  been  mysteriously 
killed  a  few  days  before.  He  swears 
vengeance  and  the  scene  in  which  his 
mother  seeks  to  dissuade  him  is  one 
of  the  high  lights  of  the  picture. 

Through  force  of  circumstances  he 
eventually  kills  his  father's  mur- 
derer, and  wins  a  pardon  for  himself 
through  his  capture  of  a  band  of  out- 
laws. 

George  O'Brien  is  fast  establish- 
ing himself  as  the  foremost  portrayer 
of  Western  roles.  Certainly  his  voice 
is  one  of  the  most  agreeable  the  talk- 
ies have  given  us. 

Lucille  Browne,  as  the  girl  he 
loves,  is  pleasing  in  a  negligible  role, 
although  she  suffers  through  prox- 
imity to  the  finished  and  very  beauti- 
ful Myrna  Loy,  of  whom  there  is  not 
enough.  Blanche  Friderici,  as  the 
mother,  and  James  Bradbury,  Jr.,  as 
Buck's  pal,  are  pleasing  in  small 
parts. 

Golfing    in    Technicolor. 
Tut,   tut,   what's   the   matter   with 
"Follow  Thru"?     Beautifully  photo- 
graphed     entirely      in      Technicolor, 
Continued  on  page  100 


"'.I 


Spanish — More 
or  Less 

Whether  or  not  our  gifted  favorites 
masquerade  successfully  as  Spaniards  or 
Mexicans,  they  attempt  it  often  enough 
to  appear  in  their  recent  characterizations 
on  this  page. 

better  qualified  than  an 

actor  to  portray  a  realistic  don,  for  he  was  born  in 

Spain,  .-.pent  liis  boyhood  there,  and  speaks  the  language 

fluently.     That  is  why  he,  above  all  others  in   Hollj 

sen  t.>  play  tin-  title  role  in  the  Spanish 

version  of  "The  Bad  .Man." 

turned  from  Europe  to  appear 

in   hi-    first   talkie,    "Captain   Thunder."   and   there   isn'l 
ul>t  that  all  the  tans  who  admired  him  in  silenl 
pictures  have  a  treat   in  store  when  they  hear  his  rich, 
melodious  voice. 


who,  incidentally, 
icd   to   the    New    York-    stage,    app 


li 


in   "The 


miard  in  "A 


100 

Continued  from  page  98 
showing  plainly  that  Buddy  Rogers 
and  Nancy  Carrol]  have  the  skin  you 
love  to  touch,  it  .still  is  a  rather  tire- 
some affair.  So  Ear  as  these  i 
can  sec  it  is  because  musical  com- 
edy is  passe,  and  there  isn't  any  real 
singing  among  those  who  lift  their 
voices  in  song.  On  the  stage  "Fol- 
low Thru"  was  lively,  tuneful,  and 
funny.  While  the  screen  version 
scrupulously  follows  the  original,  it 
is  not  lively  and  fun  is  almost  com- 
pletely absent,  while  the  songs  are 
too  familiar  to  strike  one  as  tuneful. 
It  is  just  pleasantly  soporific. 

As  a  matter  of  record,  you  may 
care  to  know  that  it's  about  the  ri- 
valry of  female  golf  champions,  their 
competition  made  keener  because  the 
heart   and   hand   of    Mr.   Rogers  are 


Tke  Screen  in  ReViev? 

the  capital  prize.  Besides  those  al- 
ready mentioned,  there  are  Thelma 
Todd,  Eugene  Pallette,  Albert  Gran, 
and  strangers  from  the  stage  include 
Jack  Haley,  Xclina  <  )'Neal,  Mar- 
garet Lee,  and  Don  Tompkins. 

Song-and-dance    Marines. 

"Leathcrnccking"  is  a  story  of  life 
as  it  isn't  lived  among  the  marine 
corps.  This  might  better  have  been 
called  hijacking  as  charging  admis- 
sion to  this  picture  is  what  it  really 
amounts  to.  Eddie  Foy,  Jr.,  as  a  pri- 
vate in  the  marine  corps  falls  in  love 
with  a  so-called  society  girl  who  mis- 
takenly thinks  he  is  «.  captain.  Afraid 
of  losing  her  if  she  discovers  his  true 
position,  he  steals  a  captain's  uniform 


to  carry  out  the  deception  and  at- 
tends a  ball  she  gives. 

During  the  picture,  the  studio  is 
reported  to  have  employed  a  techni- 
cian to  see  that  the  military  details 
were  correct.  The  technician  ob- 
jected to  a  private's  stealing  a  cap- 
tain's uniform  and  wearing  it.  "He 
could  do  it,"  said  the  director,  "for  a 
laugh." 

"Yes,  he  could,"  retorted  the  tech- 
nician, "but  he  wouldn't." 

But  in  the  picture  he  did  and  the 
rest  of  the  film  is  in  keeping. 

Mr.  Foy,  Fred  Santley,  and  Irene 
Dunne  are  far  from  inspired  in  their 
performances.  Lilyan  Tashman,  in 
her  burlesque  of  a  society  girl,  stands 
out  and  provides  a  bit  of  entertain- 
ment in  an  otherwise  dull  film. 


Continued  from  page  96 

For  giving  us  Kay  Francis  and  Lillian 
Roth,    the  two   best   bets    from    Broadway. 

For  bringing  back  Lila  Lee,  Lois  Wil- 
son, and   Bebe   Daniels. 

For  giving  us  adorable  Mitzi  Green. 

For  Maurice  Chevalier,  Helen  Kane, 
Jeanette  MacDonald,  Ginger  Rogers,  Ber- 
nice    Claire,   and    Winnie    Lightner. 

For  letting  us  know  what  splendid 
voices  our  silent  stars  have,  without  aid 
from  the  Gay  White  Way.  Ramon  No- 
varro,  Buddy  Rogers,  Janet  Gaynor,  and 
Charles  Farrell  have  all  shown  us  just 
what  good  voices  they  have. 

For  "Song  o'  My  Heart,"  "Rio  Rita," 
"King  of  Jazz,"  "Paramount  on  Parade," 
"The  Love  Parade,"  "Vagabond  King," 
"Sarah  and  Son,"  and  "The  Dawn  Pa- 
trol." 

For  giving  Richard  Barthclmess  another 
chance. 

For  Neil  Hamilton  and  Lloyd  Hughes 
ditto. 

For  making  Joan  Crawford,  Jack  Oakie, 
and  Richard  Aden  stars. 

For  sending  the  most  beautiful  girl  in 
pictures  to  Hollywood.  Joan  Bennett,  and 
making  her  sister  Constance  the  dramatic 
smash  of  the  year. 

Why  I  mourn  : 

Because  one  of  the  greatest  actresses 
in  the  world  is  being  ruined  by  bad  pic- 
tures   and    publicity — Clara    Bow. 

Because  the  man  I  always  loved  to  hate 
is  being  made  into  a  hero,  and  we'd  so 
much  rather  have  him  the  villain — Wil- 
liam  Powell. 

ause  Edmund  Lowe  is  being  made 
into  a  tough  when  he  is  really  a  gentle- 
man. 

Because  the  most  beautiful  blonde  in 
the  world  has  been  exiled  into  vaudeville 
— F.-ther  Ralston. 

Because    Fanny    the    Fan    has    not    yet 
put  out  of  her  misery  by  some  long- 
suffering  reader. 

Because  Colleen  Moore  has  gone  on  the 
.    leaving    a   dark   void    that   probably 
will  never  be  filled. 

some     saps     actually    compare 
Helen  Twelvetrees  with  Lillian  Gish. 

ause  Alice  White  still  insists  on 
strutting  before  the  camera  when  she 
should  have  left   us  lone  ago. 

Because  Lupe  Velez  lives. 

Because  Lon  Chancy,  the  greatest  artist 
of   all,   is   gone.  "Dimmy." 

312  Read  Sti 

Santa  Fe,  New  Mexico. 


What  the  Fans  Think 

Gilbert's   Love    Life    Analyzed. 

This  letter  is  in  praise  of  the  most  hu- 
man and  most  brilliant  actor  on  the  screen 
to-day — John  Gilbert.  I  feel  that  he  needs 
bouquets  of  appreciation  and  gratitude 
more  than  ever  before. 

Away  back  in  1925,  the  entire  country 
was  thrilled  by  "The  Big  Parade."  This 
year  I  saw  Mr.  Gilbert's  first  talkie,  "His 
Glorious  Night,"  and  his  voice  thrilled  me 
much  more  than  Richard  Dix's,  Barthel- 
mess's,  or  Barrymore's.  Any  one  who 
says  that  John  Gilbert  is  through  is  very 
much  mistaken. 

He  is  thoughtful  and  kind.  He  may  be 
selfish  and  egotistical,  but  most  of  us  are, 
too.  That's  why  he  is  the  splendid  actor 
that  he  is;  he  is  just  human.  He  may  be 
snobbish,  but  only  to  persons  who  are  pre- 
tenders— never,  I  am  sure,  to  his  real 
friends. 

John  Gilbert  will  always  be  the  only 
real  genius  of  the  screen,  and  like  all 
geniuses,  he  will  never  be  happy  as  other 
men  are.  His  love  life  reached  its  high- 
est and  most  tragic  peak  when  he  married 
Ina  Claire.  I  believe,  despite  all  publicity 
yarns,  that  Greta  Garbo  could  have  made 
John  Gilbert  the  happiest  man  in  the  world 
had  she  married  him.  I  believe  that  Mr. 
Gilbert  admires  his  wife,  but  he  isn't 
happy.  He  idealized  the  glorious  Greta 
and  gave  her  his  admiration  and  love. 
Why  Garbo  didn't  marry  him,  I  don't 
know.  It  is  tragedy,  mysterious  tragedy, 
tragedy  that  will  leave  wounds  worse  than 
any  inflicted  on  the  body.  If  I  am  wrong 
in  my  beliefs,  I  offer  my  most  sincere 
apologies. 

Once  more,  John  Gilbert  isn't  through. 
He  is  king  of  them  all,  surpassing  even 
Barrymore,  because  he  has  known  the 
other  side  of  life,  the  side  that  knows 
hardships,  sorrow,  and  hunger ;  he  can 
act  them  because  he  has  felt  them.  He 
has  made  his  way  up  the  ladder  alone, 
whereas  Barrymore  lias  had  fame  and 
comfort  all  his  life. 

Stf.lla  L.   Simmons. 

M.  P.  A.  Box  305, 
Corsicana,    Texas. 

Such  Looks  Are  Dangerous. 
I  am  angry!  And  all  because  of  Mal- 
colm H.  Octtinger's  article,  "The  Incom- 
parable Chevalier."  Not  that  I  don't  like 
Maurice.  I  do,  very  much,  and  I  did 
want   to   read   all    about   him.     But   every 


time  I  tried,  would  get  as  far  as,  "And 
now  Paramount  has  counterbalanced 
Buddy  Rogers  by  bringing  us  Chevalier!" 
— and  I  would  fly  into  a  rage,  fling  the 
magazine  across  the  room,  and  yell  to  all 
and  sundry,  "Oh,  yeah?" 

As  if  Buddy  needed  any  counterbal- 
ancing !  Even  by  the  inimitable  Cheval- 
ier, who  isn't  inimitable  at  all.  If  there 
is  any  one  who  can  outdo  Buddy  in  looks, 
charm,  wholesomeness,  and  ability,  he'd 
better-keep  it  a  secret.  He  would  be  killed 
by  popularity.  And  furthermore,  if  such 
a  person  did  appear,  and  some  writer  had 
the  cheek  to  say  he  needed  to  be  counter- 
balanced, there  would  simply  be  nothing 
left  of  that  writer  but  a  spot! 

And  what's  this?  "Conceit,  Rogers  is 
thy  name."  Well,  of  all  things!  Did  it 
ever  occur  to  you,  B.  M.  K.,  that  Buddy 
probably  never  even  saw  your  friend's  let- 
ter? Or  that  his  secretary  undoubtedly 
reads  hundreds  of  others  similar  to  it 
every  day?  Or  that  he  might  have  got 
the  addresses  mixed?  Or  that  it  is  silly 
to  knock  a  star's  acting  because  of  an 
error  his  secretary  made?  Be  yourself  1 
Phyllis  Huston. 

661  Pierce  Street, 

Birmingham,   Michigan. 

Now   It's    Lew  Ayres. 

While  many  fans  are  telling  us  that 
Alice  White  cannot  act  and  how  much 
they  dislike  Clara  Bow,  may  I  step  in  and 
tell  you  what  I  think  about  a  certain 
player  who  'has  just  recently  attracted 
attention?  He  is  none  other  than  young 
Lewis  Ayres.  Players  can  come  and  play- 
ers can  go,  but  give  me  Lew  Ayres.  His 
ability  is  unlimited,  and  as  for  personal- 
ity, he's  a  knock-out !  "All  Quiet  on  the 
Western  Front"  was  a  history-making 
film,  and  who  had  the  biggest  hand  in  put- 
ting it  across?  Lew  Ayres!  He  was 
perfect  as  that  German  schoolboy.  Show 
me  another  who  could  have  done  half  as 
well.  He  has  the  ability  of  Dick  Bar- 
thelmess  and  as  much,  if  not  more,  per- 
sonality and  looks  as  Buddy  Rogers,  yet 
he  isn't  conceited.  Lew  hasn't  been  in 
pictures  much  over  a  year,  yet  he  is  the 
outstanding  juvenile  to-day.  Watch  Mr. 
Ayres.  and  when  some  of  our  ga-ga  per- 
sonalities of  to-day  are  forgotten  he  will 
be  on  ton ! 

Lincoln,  Illinois.  J.  W. 

Continued  on  page  106 


To  tke  Far  Corners 

These  athletic  players  hop  on  some  old  prop  bicycles  ami  ride,  ami 

ride,  and  ride  clear  to  the  ends  of  the  studio  lot.  which  proves  that 

they  are  regular  guys,  all  right 


101 


"Whathol  Thar'i 
villains  in  them 
li  1 1 1  ,"  bellows 
(  onklin, 
•  ilwari 
captain  <>i  police, 
a  nil    11 

said  ill. hi  the  (  ip 
tain  straddles  hit 
rusty    wheel    and 
ofl    and    .it 
\  ni 


But  with  Pauline  (iaron 
and  Grant  Wither-,  cen- 
ter, it  is  another  story • 
Their  expressions  show 
that  it  is  all  the  same  t" 
them  whether  they 
across    the    lut    or    not. 


Lillian      Roth.      above. 
homeward     on 
cme  of  the  earliest  mod- 
short    cut 
e    grass,     lx.- 
irn     it,     one 
it  take  ti 
way   'round   on   on 
these  machi: 


Jeanette  MacDonald,  left,  winner  in  the 
five-second  bike  race,  stands  at  the  goal 
—Ernst  Lubitsch,  the  director— and 
laughs  at  the  frantic  balancing  of  the 
othi 

your  grandfather  a-wooing  would 
go,  he  impressed  the  girls  with  bis  skill 
in  riding  a  contraption  such  as  David 
Manners,  right,  is  trying  out.  Just  look 
at  th  nd  you'll  get  an  id 


102 


Information,  Please 


DRIVOLEZ.— Will  I  oblige  you?  Ab- 
'  solutely  !  "Obliging  Olaf"  is  what  my 
friends  call  me — sometimes  shortened  to 
Oaf.  Mary  Astor  is  playing  opposite 
Barthelmess,  in  "Adios."  Alary  is  five  feet 
six.  Charlie  Farrell  is  a  tennis  player  in 
his  off  moments.  Madge  Bellamy  was  the 
star  in  "Wings  of  Youth"  and  in  "Sandy." 
Virginia  Valli  was  born  in  Chicago  as 
Virginia  McSweeney,  June  10,  1900.  She 
likes  to  play  golf  and  ride.  "The  Lost 
Zeppelin,"  released  last  February,  is  her 
latest  film.  Virginia  is  five  feet  four. 
Lloyd  Hughes  is  six  feet  tall  and  David 
Newell  six  feet  two. 

Celui-de-mystere. — That's  not  much  of 
a  mystery  to  me,  with  my  nineteen  French 
words.  See  Frivolez  above.  Rudy  Val- 
KV  is  about  six  feet  tall,  and  I  believe  is 
taking  voice  training  now.  Fredric  March 
is  six  feet  tall,  Kay  Francis  five  feet  five. 
Billie  Dove  and  Mary  Brian  have  hazel 
Maureen  O'Sullivan  is  about  eight- 
een :  I  think  that  is  her  real  name.  Sorry, 
1  don't  know  any  players  with  birthdays  on 
April  30th.  Gwen  Lee  is  about  the  tallest 
actress  now  on  the  screen :  she  is  five  feet 
seven.     Constance  Talmadge  is  also. 

Dick  Simkins. — How  can  a  good-look- 
ing  fellow  get  into  the  movies!  I'd  suggest 
making  good  on  the  stage  first,  Buddy,  and 
just  letting  those  producers  see  how  good- 
looking  you  are!  Dorothy  Lee  is  about 
twenty  and  is  engaged  to  James  Fidler. 

Jrsr  Another  Fax. — Kay  Francis  is  di- 

d.     Noel  Francis,  I  believe,  is  playing 

i-i  Fox  pictures,  but  it's  impossible  for  me 

to  keep  a  record  of  productions  of  any  but 

established  players. 

Me,  Myself,  and  I. — Back  again,  asking 
enough  questions  for  three  people!  Rex 
Bell,  as  George  Beldam,  was  born  in  Chi- 
cago, October  16,  1905.  He  attended 
Hollywood  High  School  and  then  became 
a  building  material  salesman.  While  sell- 
ing materials  to  the  studios  in  May,  1927, 
he  was  grabbed  by  Fox.  He  is  still  sin- 
gle. Did  you  see  him  recently  in  "Cour- 
Rex  Lease's  films  since  "Sunny 
Skits"  were  "Hot  turves,"  "Wings  of  Ad- 
venture." and  "The  Utah  Kid."  You  can 
see  Richard  Gallagher,  in  "Let's  Go  Na- 
tive," Loretta  Young,  in  "At  Lay."  Pat 
O'Malley  plays  Charles  Newton,  in  "The 
Fall  Guy.'  Hugh  Trevor  was  born  in 
Yonkers,  Xew  York,  October  28,  1903. 
His  real  name  is  Thomas.     His  screen  ca- 


reer began  in  1927,  when  Richard  Dix  made 
a  film  test  of  him.  He  is  not  married,  but 
is  now  playing  beau  to  Betty  Compson. 
Did  you  see  him  in  "The  Cuckoos"?  His 
new  one  is  "The  Losing  Game."  John 
Mack  Brown  is  busy  on  "Great  Day." 

Miss  Movie  Fan  of  Chicago. — Well, 
Miss  Movie  Fan,  you'll  miss  some  of  your 
answers.  The  most  popular  actor  and  ac- 
tress in  Hollywood,  indeed!  That's  just  a 
matter  of  opinion.  As  to  the  highest-paid 
stars,  I  wouldn't  believe  any  of  those  salary 
figures,  unless  I  sa  .v  the  checks !  Robert 
Montgomery  was  born  in  Beacon,  New 
York,  May  21,  1904.  He  has  brown  hair 
and  eyes  and  is  six  feet  tall,  weighing  160. 
Robert  got  into  movies  via  the  stage.  He 
is  married  to  Elizabeth  Allen  and  Junior  is 
on  the  way. 

Violet  M. — It  was  Helen  Millard  you 
saw  in  "Their  Own  Desire"  and  "The  Di- 
vorcee," who  looks  like  Ruth  Chatterton. 
No,  Miss  Chatterton  did  not  appear  in 
"Gold  Diggers  of  Broadway";  she  never 
plays  minor  roles. 

Heels. — As  to  my  joining  a  circus  be- 
cause of  those  two  hairs  that  stand  up  on 
my  head,  gosh !  I'd  have  to  learn  tight- 
rope walking  besides.  George  O'Hara  has 
long  since  turned  to  writing  scenarios  in- 
stead of  playing  in  them.  John  Boles's 
three-year-old  daughter  is  named  Jane  Har- 
riet, and  his  older  child  is  also  a  girl. 

A  Curious  Blonde. — I  suppose  curiosity 
doesn't  kill  blondes  as  it  does  cats.  It  was 
Rex  Bell  who  interested  you  in  "True  to 
the  Navy."  See  Me,  Myself,  and  I.  He 
is  now  with  Paramount.  Fredric  March 
was  born  August  31,  1898.  Yes,  he  is  mar- 
ried to  Florence  Eldridge.  If  Clara  Bow 
marries  Harry  Richman,  I'll  be  surprised, 
but  I've  been  surprised  before. 

A  Picture-house  Lover. — That's  a  new 
one,  loving  the  house!  Harold  Lloyd's 
new  film  is  "Feet  First,"  and  it  should  be 
released  by  the  time  this  appears.  You  can 
reach  him  at  the  Hollywood  Athletic  Club. 
Harold's  only  fan  club  is  directed  by  Hal 
Granger,  Westboro,  Ontario,  Canada. 
Harold  was  born  in  Burchard,  Nebraska, 
April  21,  1894;  he  is  five  feet  ten  and 
weighs  160.  He  is  married  to  Mildred 
Davis,  and  they  have  a  daughter,  Gloria 
Mildred.  Lillian  Roth  did  not  play  in 
"Captain  of  the  Guard."  Her  next  is  the 
new  Jack  Oakie  film,  "Sea  Legs."     Lillian 


has  played  in  pictures  for  a  year ;  I  think 
that  is  her  real  name.  There  is  no  fan 
club  for  her,  as  Paramount  discourages 
clubs  for  its  players.  Neil  Hamilton  was 
born  September  9,  1899.  He  is  five  feet 
eleven  and  weighs  155.  "The  Cat  Creeps'' 
is  his  new  film.  Dorothy  Devore  was  born 
on  June  22nd. 

B.  M.  Mitchell. — Lia  Tora  was  just 
talked  out  of  American  films,  though  she 
may  be  playing  in  Spanish  versions.  Buck 
Jones  has  signed  for  a  series  of  films  with 
Columbia,  the  first  one  already  released 
as  "The  Lone  Rider."  Conrad  Veidt  re- 
turned to  Germany,  as  he  did  not  go  over 
well  with  the  American  public.  And  now 
talkies !  Yivienne  Siegel  is  the  daughter  of 
a  surgeon  in  Philadelphia.  Fan  clubs  con- 
sist of  members  who  correspond  with  one 
another ;  there  is  no  Lillian  Roth  club. 
Dorothy  Wollaston,  1155  West  Third  Street, 
Dayton,  Ohio,  has  a  Ramon  Novarro  club. 

Carol  Woods. — Perhaps  it's  just  tem- 
perament that  prevents  Joseph  Schildkraut 
from  working  oftener — just  as  it  caused  his 
divorce  from  Elsie  Bartlett.  Joseph  was 
born  in  Vienna,  October  9,  1896.  He  is 
not  making  a  picture  at  present. 

Mary  Rodesky. — You  forgot  to  send 
your  address  to  the  Betty  Compson  club  in 
applying  for  membership.  Harry  Wood, 
president,  704  Calhoun  Avenue,  Houston, 
Texas,  would  like  you  to  send  it. 

Cowgirl. — You  picked  out  questions 
harder  to  answer  than  it  is  for  you  to  milk 
the  cow.  Identifying  an  extra  in  a  pic- 
ture would  be  some  job,  as  even  the  cast- 
ing office  would  have  only  a  list  of  names 
with  no  parts  listed — because,  after  all,  ex- 
tras don't  pla\r  parts !  Richard  Tucker  is 
an  institution  on  the  sceen,  and  was  on 
the  stage  years  ago,  with  Mrs.  Fiske.  John 
Drew,  ct  cetera.  He  entered  pictures  in 
1(>14  with  Edison.  Write  him  at  the 
Masquers'  Club,  Hollywood.  Daphne  Pol- 
lard is  a  stage  comedienne  engaged  for  a 
U  w  screen  comedies.  I  don't  know  where 
she  can  be  reached  now.  '  Alma  Rubens 
has  been  playing  in  vaudeville,  and  I  be- 
lieve Ricardo  Cortez  has  also,  though  not 
with  her. 

VlTELLA  Lee. — I'm  sorry  to  report  no 
luck  about  Frank  Merrill,  but  he's  quite 
an  obscure  player.  Natalie  Kingston  was 
born  in  Sonoma,  California,  May  19th — 
but  she  doesn't  say  which  May  19th.     She 

Continued  en  page  119 


in;; 


Marion  Shilling,  be- 
low, is  .1  new< 
Inn  n>>t  because  she  is 
wanting  in  tin- 
tials  to  register  with 
,'is  she's  just 
young,  or  has  been 
hiding  out  In-liiiul  the 
(lights. 


Hold  tkat  Line! 

In  tootb.ill  and  movies,  holding  the  proper  lines  is  important, 

rciae  helps  in  botli  cases. 


104 

ntinued  from  page  67 
your  emotional  troubles.  You  also 
became  an  idealist,  as  far  as  love  was 
concerned,  and  what  you  had  pre- 
viously looked  for  was  no  longer 
enough.  That  was  the  core  of  your 
unhappiness,  and  no  one  was  to 
blame. 

Your  own  feelings  tore  you  to 
pieces  to  such  an  extent  that  you  ran 
after  anything  that  offered  to  quiet 
them,  whether  work  or  play,  and  as 
a  result  you  were  seriously  ill  before 
you  were  nineteen.  By  that  age  you 
began  to  acquire  a  little  wisdom  in 
dealing  with  circumstances,  you  found 
that  you  had  originality,  creative 
ability,  and  that  there  was  a  business 
value  to  your  peculiar  power.  There 
was  a  good  deal  of  difficulty,  financial 
as  well  as  otherwise,  between  twenty- 
two  and  twenty-four,  but  no  serious 
unhappiness. 

Since  then  the  trouble  began  all 
over  again,  but  fortunately  you  were 
able  to  put  an  end  to  it  completely. 
You  were  ill,  too,  but  not  with  any- 
thing serious  or  chronic,  and  you 
have  the  wonderful  ability  to  go  on 
with  vour  work  no  matter  how  you 
feel. 

Now  you  are  in  love  again,  and 
again  married.  I  am  glad  to  say  that 
after  this  long,  sad  story  you  are 
going  to  find  life  much  brighter,  much 
more  peaceful,  much  more  satisfying 
than  ever  before.  Oh,  don't  be  afraid 
that  you  are  going  to  turn  into  a  nun ! 


The  My'sten?  of  Your  Name 

There  will  always  be  plenty  of  emo- 
tional excitement,  plenty  of  music, 
plenty  of  dancing  and  singing  and 
loving  wherever  you  are.  But  your 
nerves  are  going  to  become  much 
steadier,  and  you  will  accept  life  with 
much  less  strain. 

The  unstable,  excitable,  impres- 
sionable Number  Two  in  your  large 
digits  has  given  place  to  Number 
One,  which  will  alter  your  point  of 
view  into  one  of  universal  under- 
standing, peace,  good  nature,  pleas- 
antness for  you  and  for  all  concerned. 
There  will  be  plenty  of  fire,  for  light 
and  warmth  and  joy,  but  it  will  not 
burn  you  as  it  has  before.  You  will 
hide  a  great  deal  in  your  heart,  as  you 
always  have,  although  people  think 
you  so  expressive,  but  it  will  not  so 
often  be  pain. 

I  am  not  deceived  by  pictures  and 
star  roles  and  publicity  and  all  the 
paraphernalia  of  a  great  success. 
You  have  been  a  personal  success  as 
an  actress,  for  you  are  born  to  act, 
and  will  never  earn  anything  in  any 
other  way.  But  you  have  not  had 
any  financial  success  to  compare  with 
your  power  and  ability  so  far.  You 
are  an  artist  to  your  finger  tips,  with 
a  more  powerful  magnetism  than  a 
dozen  others  combined,  but  it  has  not 
done  you  as  much  good  as  it  should, 
even  if,  generally  speaking,  you  have 
done  very  well.  The  trouble  has  been 
that  no  matter  what  you  earned,  you 


have  had  to  spend  more,  not  from 
choice,  but  from  necessity,  and  you 
would  have  felt  bankrupt,  even  if  you 
had  been  a  millionaire. 

For  the  next  twelve  or  more  years 
you  are  going  to  find  your  material 
path  of  life  perfectly  satisfactory, 
regardless  of  the  size  of  your  income, 
and  that  will  be  a  heavenly  relief  to 
you,  I  am  sure.  I  do  not  mean  that 
you  will  be  really  rich — you  never 
will,  with  this  name— but  you  will 
have  something  better,  a  contented 
spirit  and  the  joy  of  successful  ex- 
pression. 

I  am  sure  that  you  will  not  be  sur- 
prised to  hear  that  there  are  at  least 
two  more  marriages  in  your  name. 
How  could  any  one  man  hope  to  hold 
forever  such  a  leaping  flame  as  you? 
But  do  not  be  too  willing  to  take 
what  comes  in  love  and  money.  Your 
birth  path  indicates  shadows,  and 
your  only  real  power  will  appear 
when  you  are  able  to  conquer  the 
shadows  by  determination  and  self- 
control. 

One  thing  has  grown  stronger  with 
every  change  in  your  name.  That  is 
the  vibration  of  love  and  charm  and 
attraction  and  beauty — in  you  for 
others,  in  the  world  of  beauty  for 
you.  It  is  your  life,  and  I  am  sure 
that  no  matter  what  name  you  attract 
to  you,  it  can  never  be  one  that  will 
destroy  the  basis  of  all  that  you  really 
are. 


n    .    ,  r  „     The  MvsterV  of  Your  Name 

Continued  from  page  66  "  ~  ' 

Why,  my  dears,  this  is  not  fortune     is  bound  to  fall  in  love  with  a  woman 


telling,  or  looking  at  tea  leaves,  or 
some  kind  of  mind  reading.  This 
reading  of  names  is  an  analysis  of 
the  vibrations  that  you  take  on  at 
birth,  the  pattern  of  this  one  particu- 
lar life  of  yours,  indicating  the  kind 
of  vibrations  under  which  you  live  as 
a  whole,  and  also  the  definite  vibra- 
tions that  affect  you  at  different  times 
and  thereby  make  you  attract  the 
same  kind  of  thing  to  yourselves. 

It  is  perfectly  true  that  if  you  are 
in  a  very  low  and  negative  and  gen- 
erally destructive  vibration  for  two 
or  three  years,  you  are  likely  to  lose 
things  and  very  unlikely  to  find  them 
again.  But  where  they  are?  No, 
really ! 

So  when  you  read  of  somebody's 
dark-haired  boy  friend,  or  of  the 
pretty  widow  that  somebody  else  ad- 
mires, do  not  imagine  that  I  have 
some  kind  of  magic,  real  or  pre- 
tended, by  which  I  can  see  the  person 
I  describe.  All  I  positively  do  know 
is  that  a  certain  somebody  now  lives 
under  a  vibration  that  causes  her  to 
attract  dark-haired  boys  more  than 
any  others,  or  that  another  somebody 


who  has  been  previously  married,  or 
she  with  him,  as  the  case  may  be,  just 
in  the  years  of  wffiich  I  am  speaking. 

You,  dear  Mamie,  are  sure  you 
would  be  just  as  wild  about  Bill  as 
you  are  now,  no  matter  how  he 
looked.  I  know,  on  the  other  hand, 
that  if  you  were  not  crazy  about  Bill 
you  would  be  like  that  about  some 
other  boy  of  the  same  general  build 
and  complexion  and  hair  and  eyes, 
because  you  are  living  in  a  vibration 
that  attracts  that  physical  vibration 
to  you.  Exactly  this  appearance  is 
what  makes  Bill  seem  so  wonderful 
to  you,  whether  you  know  it  or  not, 
so  there  you  are  ! 

Did  you  ever  know  any  one  to  go 
around  looking  and  thinking  and  feel- 
ing and  perhaps  exclaiming,  "Nobody 
loves  me !"  who  suddenly  developed 
a  wonderful  and  successful  love  af- 
fair ?  No.  Did  you  ever  know  a  man 
with  push  and  optimism  and  deter- 
mination and  ability  who  did  not 
somehow  do  better  than  his  neighbor 
who  exuded  an  atmosphere  of  pov- 
erty and  incapacity  and  suspicion  and 
general   hopelessness  at   every  turn? 


If  you  take  several  years  of  their 
lives  into  account,  certainly  not ! 

I  do  not  say  that  you  can  change  all 
your  feelings  and  reactions  and  vi- 
brations by  thinking  about  them,  but 
you  certainly  can  get  a  great  deal  of 
good  out  of  knowing  about  them, 
and  that  is  what  I  want  to  help  you 
to  do. 

This  has  become  such  a  long  letter 
that  I  have  no  more  space  this  month 
to  tell  you  about  some  new  aspect 
of  numbers.  But  next  month  you 
shall  hear  about  professions — about 
lawyers,  teachers,  writers,  physicians, 
and  such,  if  I  can  get  them  all  in. 
There  are  such  hordes  of  people  wdio 
are  misfits,  even  in  a  profession  they 
love,  because  that  love  is  not  accom- 
panied by  the  particular  kind  of  physi- 
cal and  mental  activity  that  could 
make  their  success  possible,  and  there 
are  many  others  that  make  a  wonder- 
ful success,  even  without  any  signs  of 
dazzling  intelligence  or  great  learn- 
ing, because  every  activity  in  them  is 
coordinated  with  the  others  to  their 
chosen  end. 

Oh,  and  by  the  way,  a  word  to 
Continued  on  page  109 


Continued  from  p.iK*  74 
and  working  for  Paramount  thej  had 
le  difficulty  with  the  school  author- 
ities  who   thought    Doug   should   be 
studying    instead    of    working.      To 
c  their  point,  thej  rer  a 

that 
luating 
and  the  kid  passed  them. 

He  made  his  contract  with  Para- 
mount ment.    It 

a  well-la 
at  the  time  that  his  father  was  bit- 
terh  !  to  the  move.     For  one 

thing,  Doug,  Jr..  |  very  young 

and    D.  wanted   him  to   con- 

tinue   his     s<       iling.       For    another 
thin>-  '  is  still  a  compara- 

star  and  it  wouldn't  help 
matters  to  have  it  known  that  he  had 
n  almost  grown. 
But  Doug,  Jr.,  went  ahead  with  his 
-  and  made  one  starring  picture. 
The  outcome 
was  not  altogether  happy  and  he  re- 
turned  to    Europe   with   his   mother. 
When  he  came  hack  to  this  country  it 
with    another    Paramount    con- 
tract— this    time    for    work    in    their 
stock  company  playing  hits  and  small 
parts.     It  was  not  until  he  played  in 
-     Ila  Dallas"  that  he  attracted  any 
further    notice,    and    not    until    '"The 


Too   Many   Don'ts   Mean   Do  105 

Toilers"  that  he  became  an  actor  of  Wither  Don-.  Sr.,  nor  Mary  were 

importance.  what   is  popularly   known  as  spring 

rhen i  the  inevitable  "don't"  popped  chickens,  and  both    felt   that  having 

up  again.     Casting  directors  started  a  married  son  would  not  add  to  the 

telling  him  "Don't  play  heavy  parts  illusion  of  youth  they  inject  into  their 

like   that.      Your    lone   is   comedy."  pictures.    And  worse  than  that,  there 

But  Doug  is  nobody's  fool.    He  real-  was  that  bugaboo  of  possible  children. 

I  that  drama  is  much  ea>ier  to  Joan  and  Doug,  Jr.,  as  a  young  mar- 
play  than  comedy.  It  is  a  far  simpler  ried  couple  would  present  a  pretty 
matter  to  make  people  feel  sorry  for  picture.    But  Doug,  Sr.,  and  Mai  . 


you  than  it  is  to  make  them  laugh 
lie  was  just  getting  some  good  op- 
portunities, and  he  wasn't  going  to 
take  a  chance  on  muffing  them.  He 
held  out  for  the  dramatic  roles  until 
he  was  surer  of  his  technique.  He 
plays  both  types  of  roles  now  with 
equal  facility,  and  is  probably  even 
better  in  the  comedy  parts  than  in 
more  serious  ones. 

It  was  about  that  time  that  he  nut 
Joan  Crawford.  If  there  had  been 
a  steady  lire  of  "don'ts"  in  his  life 
before,  it  became  a  regular  barrage 

now.  Wherever  he  turned,  wherever 
he  went,  it  was  the  same  thing. 
"Don't  marry  her.  It  will  'kill'  you 
both  as  far  as  pictures  are  con- 
cerned." And  again  Hollywood  was 
let  in  on  the  secret  that  it  wasn't 
altogether  interest  in  the  son's  wel- 
fare that  motivated  parental  objec- 
tion. 


grandparents  was  an  altogether  dif 
ferent  story. 

Apparently   Doug.  Jr.,  decide.! 
couldn't    go   through    lit\-   protecting 

his  lather's  and  Stepmother's  careers, 
lor  all  of  a  sudden  he  married  Joan. 
"And  thai,"  says  Junior,  "is  the 
one  perfect  thing  that  has  ever  come 
into  my  life.     I  f  ever  I  needed  proof 

that  each  of  US  must  decide  things 
for  himself,  I've  had  it.  For  if  I'd 
listened  to  people  I'd  never  have  had 
Joan.  We've  helped  each  other  im- 
measurably, and  I  can't  imagine  what 
life  would  he  without  her." 

But  somehow,  perfect  as  the  mar- 
rage  is,  happy  as  they  are,  those 
"don'ts"  .>till  creep  in.  For  as  he 
Hoes  out  the  door  the  last  thing  he 
hears  is,  "I'll  miss  you.  Don't  staj 
too  long." 


A  TEAR,  A   SMILE 


Hetty  Bronson,  gay  Peter  Pan. 

The  hoy  that  would  not  risr. 
And  and  be  a  man — 

We  love  you.  despite  your  size! 

Cinderella,  dreaming  dream- ; 

Enchanted  halls,  and  prince. 
The  real  Cinderella,  in  moonlight  gleams, 

lid  ivt  have  gone  more  eager-eyed  thence. 


And  now,  companionate  Betty, 

In  love;  Western  Betty,  with  Zane  Grey 
Worldwise  Betty,  just  as  pretty, 

Is  playing  sweetheart  roles  to-day. 

Peter  Pan,  the  hoy  that  revelled 

And  played  in  forests  shady. 
And  would  not  grow,  has,  alas,  rebelled, 

And  grown  up  to  he — a  lady! 

Bbonson  Fairway. 


THE  LAST   WORD 


A 

He  waited   tor  his  win 

He  ground  his  teeth — he  tore  his  hair — 

He  registered  extreme  despair. 

"We're  late  now.  as  i;  i»."  he  cried, 
"We've   twenty-seven    blocks   to   ride; 
A  :.  ran  might  take  Us  there 

re   you'd    finished    with    your   hair." 


What  think  you,  then,  that  made  him   wild  ? 
The   wedding  of   his  dearest  child — 
A  party  that  they  must  not  miss? 
Nay,  none  of  these — but  list  to  this: 

Hi-  wife  returrn  •  -  clear: 

"But  surely  you   fbrgot,  my  dear, 
A    thing   I'm   sure  you  ought   to  know. 
Remember,  there's  ond  show  !" 

Edith    P 


1 11(1 

Continued  From  page  31 
Sea  Hawk,"  indelibly  add  to  the  his- 
tory of  the  screen. 

A  fine  actor  and  an  unusual  and 
strong-minded  man ! 

A  Touching  Deception. 

The  most  tragic  phase  of  the  Sills 
death  was  its  effect  upon  his  wife, 
Doris  Kcnyon.  and  his  children,  Dor- 
othy and  Kenyon.  They  were  all  with 
him  at  the  time  of  the  heart  failure, 
and  were  stunned  by  the  suddenness 
of  his  passing. 

To  make  light  of  the  death  for 
Sills's  three-year-old  son,  the  little 
hoy  was  told  that  his  daddy  was  away 
on  location.  The  child  understood 
this  as  something  not  unusual,  and  so 
the  kind  deception  was  continued. 
The  little  hoy  and  his  father  were 
very  devoted  to  each  other. 

Ronald's  New  Beginning. 

Xo  star  is  secure;  no  cast  need 
stay  put.  This  seems  to  he  the  new- 
law  of  filmland.  Hence  there  are 
Frequent  shake-ups  in  the  personnel 
of  the  studios  and  of  pictures. 

Ronald  Colman  is  one  of  the  latest 
to  have  made  a  new  start  on  a  pro- 
duction, with  a  different  group  of 
players  surrounding  him.  His  film, 
temporarily  titled  '"Hie  Prodigal," 
was  not  up  to  standard  after  about 
ten  days  of  shooting,  and  Samuel 
Goldwyn  decided  he  had  rather  sacri- 
fice an  investment  of  $75,000  than 
continue. 

A  young  actress,  Constance  Cum- 
mings,  brought  out  from  the  East, 
was  replaced  by  Loretta  Young,  bor- 
rowed  from  First  National,  and 
Myrna  Loy  was  assigned  to  a  vamp- 
ish   role  originally  Joan   Clare's. 

Playing  with  the  popular  Ronald 
will  prove  a  good  break  for  these 
girls,  and  also  their  engagement  is 
proof  that  experienced  film  players 
are  still  holding  the  fort. 

Other    Shake-ups   in   Casts. 

Two  other  last-minute  changes  were 
made  recently.  One  concerned  Jean 
Hersholt  in  "East  is  West,"  replaced 
by  Edward  G.  Robinson,  and  the 
other  Douglas  Fairbanks,  Jr.,  who  is 
not  to  he  seen  in  "Mean  Ideal." 

Hersholt  was  doing  the  role  of  the 
Chinese,    Charlie   Jong,   in    "East   is 


Continued  from  page  100 

Buntee!     Buntee! 

If  this  letter  i^  published  people  will  be 
writing  me  down  as  a  confirmed  crank 
and  grumbler,  but  this  effusion  is  called 
:i  by  the  many  letter^  about  Corinne 
Griffith.  Well,  Corinne  never  was  a  fa- 
vorite of  mine,  but  she  never  got  50  thor- 
i  my  nerve-  a-  in  "Lilies  of  the 
Field."  This  picture  is  my  idea  of  a  big 
waste  of  time.  The  only  thing  worth 
seeing  in   it  was  the  clothes,  and  I  guess 


Hollywood   High  Lights 

West/'  and  it  was  deemed  necessary 
take  some  of  the  scenes  in  which 
he  appeared.  Jean  had  other  engage- 
ments, in  "The  Third  Alarm"  and 
"Sutter's  Gold,"  and  so  Robinson, 
who  had  -one  East  to  appear  on  the 
Stage,  was  recalled. 

Jt  does  seem  rather  injudicious  to 
have  cast  Jean  in  a  Chinese-accented 
role,  since  in  speaking  he  always  has 
a  trace  of  his  native  Danish  inflection. 

Young  Fairbanks  was  called  hack 
to  the  Warner  studio  for  work  before 
"I lean  Ideal"  was  started,  according 
to  the  official  announcements.  The 
Warner  company  wanted  him  for  an- 
other air  warfare  film  to  follow  "The 
Dawn  Patrol."  Lester  Vail,  a  new- 
comer from  the  stage,  takes  his  role 
in  "Beau  Ideal." 

Lilyan  Will  Warble. 

And  now  Lilyan  Tashman  makes 
her  debut  as  a  singer.  In  "Esca- 
pade," starring  Evelyn  Lave,  with 
John  Boles,  she  will  be  heard  in  a 
number  called  "I  Belong  to  Every- 
body." 

"Escapade,"  formerly  called  "Lilli," 
is  described  as  a  picture  of  "great 
class,"  and  is  expected  to  lead  to  the 
renewal  of  Miss  Laye's  activities  next 
spring. 

She  is  now  visiting  her  home  in 
England  and  going  on  a  stage  tour. 

Divorce  Jinx  Resumes. 

Our  optimism  over  the  divorce  sit- 
uation, set  forth  earlier  in  this  col- 
umn, has  come  to  naught.  At  that 
moment  we  were  not  aware  that 
Douglas  MacLean  and  his  wife  were 
severing  their  domestic  ties  in  Reno, 
while  Jocelyn  Lee  and  Luther  Reed, 
the  director,  have  broken  up  their 
very  recent  alliance. 

Consolation  may  be  found  in  that 
there  are  now  among  the  marrying 
Jetta  Goudal  and  Harold  Grieve,  the 
fashion  designer,  and  Dorothy  Sebas- 
tian and  William  Boyd,  formerly  Eli- 
nor Fair's  husband. 

Friendly   Enemies. 

XTot  a  bit  of  malice  between  them! 
Friends  of  James  Cruze  and  Betty 
Compson  now  concede  that  there  is 
no  buncombe  to  this  old  wheeze,  as 
pertains  to  these  two   divorced   folk. 


Why,  didn't  Jimmy  engage  Betty 
for  the  picture  "She  Got  What  She 
Wanted,"  and  didn't  Betty  step  right 
into  the  role  without  a  cmestion? 

Such  is  the  case.  E.en  though 
they  were  only  very  recently  separ- 
ated, and  Betty  charged  various  dis- 
turbances of  her  peace  of  mind  to 
her  husband,  they  were  both  on  the 
friendliest  terms  imaginable  while 
working  together  on  the  picture.  In- 
deed. Betty  prefers  being  directed  by 
her  ex-husband  to  almost  anybody, 
we  hear. 

In  the  cast  with  Miss  Compson 
were  Alan  Hale,  Lee  Tracy,  and  Gas- 
ton Glass. 

Marie's   New   Conquests. 

Marie  Prevost  may  step  up  and 
receive  the  big  bouquet  of  crysanthe- 
imims. 

We  hear  that  she  deserves  all  the 
flowers  and  the  applause  for  her  ex- 
cellent work  in  "War  Nurse,"  which 
so  pleased  Metro-Goldwyn  that  they 
have  signed  her  on  a  long-term  con- 
tract. Marie  is  scheduled  for  im- 
portant work  now  in  "Within  the 
Law,"  starring  Joan  Crawford. 

Waiting  Wins  Reward. 

Rewards  sometimes  come  to  those 
who  wait.  That's  the  case  right  now 
with  Bela  Lugosi,  the  Hungarian 
actor  wdio  will  be  seen  in  the  leading 
role  of  "Dracula." 

Lugosi  appeared  in  "Dracula"  on 
the  stage,  playing  the  weird  role  of  a 
legendary  vampire,  in  a  play  that  sent 
the  shivers  up  and  down  one's  back 
with  its  atmosphere  of  mystery. 

About  two  years  ago  Lugosi  took 
part  in  a  Coast  production  of  the 
play,  and  there  was  talk  of  its  being 
done  in  pictures.  So  he  decided  to 
stay  on  and  wait,  fighting  his  way 
along  in  small  roles  in  a  variety  of 
films,  but  doing  nothing  outstanding. 
Between  times  he  would  play  on  the 
stage  again  in  revivals  of  "Dracula." 

Finally  when  it  came  to  the  mak- 
ing of  the  picture,  things  began  to 
look  rather  dismal.  Other  actors 
were  mentioned  for  the  role,  and  it 
is  said  that  tests  were  made  of  some 
of  them. 

Thus  waiting  around  in  Hollywood 
paid  this  time. 


What  the  Fans  Think 

a  clothes  prop  in  a  modiste's  window 
would  have  displayed  them  as  intelligently, 
if  not  a  darn  sight  more  so.  than  Corinne. 
If  she  would  only  change  her  expres- 
sion  now  and  again,  and  wipe  that  simper 
off  her  face — she  wouldn't  be  so  utterly 
unreal.  'Was  it  the  influence  of  the  orchid 
personality  that  we  hear  so  much  of  that 
changed  Ralph  Forces  from  a  rather  lik- 
able, if  unintelligent,  juvenile  into  a  milk- 
and-water  small-town    imitation  of  a  man 


of  the  world?  My  dollar  and  a  half 
would  have  been  utterly  wasted  for  me 
had  I  not  seen  some  animated"  drawings 
before  Corinne  flaslied — or  should  I  not 
say  dripped? — on  the  screen.  Anyway, 
they  were  animated — which  is  more  than 
I  can  say  for  the  orchidaceous  Griffith. 
Rivadaira   1260,  Buntee  d'Alton. 

ler   Piso,   Department.o  A, 
Buenos    Aires, 

Argentine,   South  America. 


107 


Standard  of  Value 

The  reaction  of  people  accustomed  to  fine  cars,  to  the  success  of  the  Cord 
nt-drive,  is  the  most  significant  thing-  in  the  automobile  world  today. 
Just  as  we  predicted  in  1924  that  public  demand  would  force  other  manu- 
facturers to  follow  Auburn's  Straight   Eight  leadership — which  prediction 
has   been   coming  true   for   six   years — so   now  we   predict   public   demand 
:i   will   force  builders   of  fine  cars    to    adopt    front-drive    construction. 
The  Cord,  due  to  its  inherent  exclusive   advantages,   due   to   its   extraor- 
dinarily tine  construction  and  due  to  the  experience  of  Cord  owners,  today 
ranks   supreme  among  fine  cars   in   advancements    and    value;    a    proven 
product,   definitely  the  leader  in  every  way.     Car  buyers  who   give   first 
consideration  to  their  personal   safety,  to  their  comfort  en  route,  and  to 
-••  of  handling,  have  no  alternative  but  the  Cord.     There-  is  no  substitute 
for  the  advantages  possible  only  with  a  front-drive  car. 


Sedan  $3095         . .         Brougham  $3095 
Prices  F.  O.  B.  Auburn,  Indiana. 


Cabriolet  $3295         .  .         Phaeton  $3295 
Equipment  other   than  standard,  extra 


Auburn  Automobile  Company 


Auburn,  Indiana 


CORD 


FRONT  DRIVE 


108 

1     ntinued  from  page  48 

Little  Raquel  appeared  at  the  of- 
fice of  limit  Stromberg,  attired  in 
her  nicesl  dress,  and  asked  to  see 
him.  She  stated  her  mission,  and 
was  told  to  sit  down  and  wait.  Which 
she  did  until  she  got  tired.  'Then  she 
asked  the  secretary  if  it  was  cus- 
tomary for  .Mr.  Stromberg  to  keep  all 
"the  great  actresses"  waiting  in  such 
manner.  She  added  that  she  was 
ihw  at  another  studio  immediately, 
and  if  Mr.  Stromberg  would  not  sec 
her  she  would  leave.  Which,  strange 
as  it  may  seem,  won  her  immediate 
admittance. 

"1  put  on  my  best  Spanish  accent." 
say-  Raquel.  "I  said.  'O-o-o,  Mees- 
ter  Stromberg,  1  hear  you  look  for  ze 
girl  to  play  in  South  Seas  picture? 
I  come  to  show  you.  Look  at  me, 
Meester  Stromberg.  I  think  I  am 
zat  girrul.'  " 

The  producer  looked.  He  saw  a 
preening  little  peacock  flashing  a  ra- 
diant smile,  and  replied  : 

"Let's  see  you  walk  across  the 
floor." 

"Let  me  see  you  walk  feerst,  Mr. 
Stromberg,"  said  Raquel.  "You 
show  me  how  you  want  me  to  walk 
and  I  do  eet." 

The  executive  smiled — and  did  it! 
A  little  later  he  took  Raquel  to  trie 
make-up  room  to  prepare  her  for  a 
test. 

Back  at  home,  Raquel's  father  lay 
in  bed,   slowly   sinking   from   an   ill- 


A  Little  Girl's  Big  Bluff 

ness  that  had  continued  over  a  period 
of  years.  A  short  time  before  he 
had  called  Raquel  to  his  side  and 
said  : 

"My  child,  I  do  not  want  you  to 
go  in  the  movies.  Not  while  I  am 
living,  my  dear." 

And  Raquel  had  crept  to  her  room 
with  her  heart  aching,  to  soh  herself 
to  sleep.  Her  parent  had  not  known 
of  her  work  at  Christie's,  but  believed 
her  still  an  usher  at  the  theater.  Now 
she  was  standing  on  what  she  be- 
lieved to  he  the  threshold  of  a  career, 
while  her  father's  strength  was  ebb- 
ing  and  his  one  request  was  ringing 
in  her  ears.  If  she  won  the  role  in 
"White  Shadows  in  the  South  Seas," 
she  must  go  to  Tahiti,  where  the  pic- 
ture would  be  filmed.  If  she  were 
offered  the  role  and  refused  it,  she 
probably  would  never  be  given  an- 
other chance. 

There  came  a  telephone  message — 
"M.-G.-M.  wants  ynu  at  the  studio 
immediately." 

Raquel's  blood  surged.  And  as 
quickly  receded. 

"The  contract  is  ready  to  sign," 
Mr.  Stromberg  said  when  Raquel 
stole  in. 

"I — I — want  to  take  it  home  and 
read  it  over,"  she  said  hesitatingly. 

"Very  well,  Raquel,"  the  executive 
replied.  "And,  by  the  way,  you're 
an  American  citizen,  aren't  you? 
Passports  will  be  necessary  and  your 


nationality  will  have  to  be  estab- 
lished." 

That  evening  Raquel  sat  by  her 
father's  bed  revolving  in  her  mind 
the  greatest  dilemma  of  her  life.  Her 
usual  chatter  was  stilled.  Her  soul 
was  crying  for  guidance.  After  a 
long  silence  she  leaned  forward, 

"Father,"  she  asked,  "am  I  an 
American  citizen  ?" 

"Why  of  course  you  are,"  he  re- 
plied. "I  took  out  my  naturalization 
papers.  They  were  destroyed  in  the 
fire  that  burned  our  house,  but  their 
issue  could  be  traced.  Why  do  you 
ask?" 

"I  just  wanted  to  know,"  replied 
Raquel. 

Her  problem  was  told  to  her 
brother. 

"Shall  I  sign  the  contract?"  she 
asked. 

The  question  was  debated  from 
every  angle.  Finally  her  brother 
said,  "I  think  I  would,  if  I  were 
you." 

The  contract  was  given  her  De- 
cember 17,  1927.  Raquel  signed  it 
December  19th.  Her  father  died 
December  24th — Christmas  Eve. 

And  that  is  why  little  Raquel  Tor- 
res still  goes  to  the  mausoleum  to  say 
her  beads  before  a  crypt  where  flow- 
ers are  kept  constantly  blooming. 
She  kneels  and  murmurs  prayers  for 
forgiveness  and  for  peace  to  her  fa- 
ther's soul. 


Continued  from  page  57 
was  annulled.     The  newspapers  said 
that  the  union  was  broken  up  because 
Jean  was  worth  more  at  the  box  office 
as  a  single  girl. 

Discretion  is  the  duller  part  of 
valor,  so  I  said,  "Miss  Arthur,  your 
fans  have  been  wondering  about  your 
marriage." 

Her  face  clouded.  "Tell  them," 
she  said,  "it  is  my  own  private  af- 
fair." 

T  realized  that  such  a  direct  attack 
had  been  wrong,  so  I  tried  again, 
reasoning  with  her  that  it  would  be 
better  for  the  fans  to  know  the  truth, 
rather  than  go  on  believing  the  far- 
fetched story  the  papers  bad  carried. 

"There  isn't  much  to  tell,"  Jean 
said  finally.  "I  made  a  mistake,  a 
foolish,  childish  mistake,  and  realized 
it  instantly.  I  thought  it  best  to 
correct  it  before  it  muddied  my  mind 
with  bitterness.  Paramount  had 
nothing  to  do  with  the  annulment. 
I'd  marry  a  man  I  truly  loved  this 
second,  and  count  my  career  well  lost. 
T  don't  know  how  that  absurd  story 
came  to  be  printed.  T  wanted  to  deny 
it  at  the  time,  because  T   felt   it  made 


Nasal — but  Nice 

me  seem  so  utterly  characterless,  but 
the  office  thought  it  best  to  let  the 
thing  blow  over." 

To  change  the  subject,  I  asked 
Jean  if  it  were  true  that  she  yearned 
toward  the  soil  with  bovine  trim- 
mings. 

"What  I  really  meant,"  she  said, 
"was  that  I  should  like  an  estate, 
with  no  immediate  neighbor,  a  nice 
colonial  house  with  pewter  and 
things,  and  a  well-kept  lawn  around 
it." 

"And  a  cow.  Miss  Arthur?" 

"Well,  I  like  animals  when  they're 
clean — sheep  for  instance,  and  yes,  a 
nice  clean  cow." 

Jean  isn't  domestic  or  literary,  not 
even  for  publicity  purposes.  Her 
idea  of  a  large  evening  is  to  collect 
the  boy  friend  and  dance  and  dance. 

She  hates  bridge  and  teas  and  has 
no  girl  chums.  She  dotes  on  horse- 
racing  and  New  England  landscapes. 

Off  the  screen  her  voice  does  not 
seem  nasal.  She  insists  that  the 
whiny  tones  were  merely  part  of  her 
characterization  in  "The  Saturday 
Night  Kid,"  but  as  her  voice  recorded 
nasally  in  several  other  pictures,  I'm 


going  to  put  her  down  as  nasal  but 
nice,  just  to  keep  that  title. 

Summing  Jean  up,  I'd  say  she  is 
girlish,  but  not  ga-ga,  sweet  but  not 
saccharine,  intelligent  and  ambitious, 
with  just  the  right  amount  of  naivete 
to  complete  her  charm.  After  all, 
ingenuousness  is  becoming  to  an  in- 
genue. 

Despite  her  disparaging  comment 
on  her  own  beauty,  she  is  truly  lovely, 
with  the  most  luminous  blue  eyes  I've 
ever  seen,  and  a  way  of  using  them 
which  makes  sane  men  break  down 
and  ask  for  an  autographed  photo. 

For  a  few  final  facts  let's  return  to 
the  report  of  the  inspired  publicity 
writer. 

"Jean  is  five  feet,  three  inches  tall 
and  was  born  on  October  17,  1907. 
She  lives  in  Hollywood  with  Iter  par- 
ents, who  abandoned  (pardon  his 
dramatic  verbs)  their  New  York  resi- 
dence several  years  ago.'  She  has 
two  older  brothers,  and  in  the  East 
two  nephews  who,  she  has  decided, 
will  live  with  her  some  day  in  her 
colonial  house  and  help  her  take  care 
of  her  cow  and  at  least  one  each  of 
everv  other  domestic  animal." 


The   Mystery   of  Your   Name 
(    ntinued  from  page  h'-l 

those  who  have  written  personal  It-t- 
asking questions  or  requesting 
private  read  ■  gs  So  many,  mam  oi 
yon    have    omitted    \onr    ad< 

:  given  a  wrong  one!  While  1 
can  tell  you  about  the  myster)  oi 
your     name,     unfortunately      1     can't 

e  the  mystery  of  your  address! 

B.  YY.  11    <  .  1904— Ever  since 

■ 
It     it 
1  you 
r   waj    to   borrow 
1    help    them 
along.     Befort  j  had  a 

deal 

but    since    mai  -  ween 

arl     You 

•urinating 
and  prettj 

mem  ns   to   have    c 

U  are  in  the  clouds 

altlu  '.J  hardly  tell  why, 

and  you  don't  get  much  comfort  ai  home 

'.   not   turn    out   as   you 

exjx  i  have  n  tt  all  well 

five   years.      Some   of    it   is 
due    to    worry,    but    there    is  rouble 

with  n,   and   that   is   really   a 

nervous  troubl  For   the  past 

have  ju-t  about  hit  the 
torn.      I    hate    to   tell   you   so   much   about 
trouble,  but  th<  in  your  name. 

How  :    will    not    keep    this    name 

thro  :  or  there  is  both  widowhood 

and  divorce  in  it,  so  that  you  will  have 
of  letters  and  vi- 
brations that  will  affect  you,  I  hope,  ever 
so  much  for  the  betur.  A^  you  pass  thirty 
unexpectedly  into  a  good 
deal  ■ 

P.  ptember  12.  1905—  You  are 

independent,  impulsive.  nive, 

aren't  you?  You  lead,  because  you  are 
naturally  a  leader  and  taking  orders  makes 
you  positively  ill.  But  you  are  also  very 
live,  and  people  have  to  be  careful 
not  to  step  on  your  toes,  or  there  is  war. 
You  let  your  imagination  run  away  with 
I  the  time,  and  that  has 
been  the  grea  unhappi- 

ne-s  v»  far.     During  the  past  two  or  I 
years  you  have  had  a  very'  hectic  love  af- 
fair, that  has  broken  you  all  up.  and  the 
chief  cau<e  of  the  trouble  has  been 
touchiness  and  your  too  lively  imagination. 
But  you  are  \  honest  and  sincere, 

and  whe:  over  your  stubbor 

you    are   always    glad   to   give    in   ai  • 
things  ors.     This  trait  will  be 

very  much  more  pronounce*!  v  on, 

and  the  f  •  :11  be  thai 

ertainly  be  married  within  I 
and  very  hap:  to  a  tall, 

ing   man   wit"  blue 

who   wi  -  und   you 

on.      It 
la--       Y.  ry    much    lav  - 
there  is  another  ir  i.     When 

you  were  very  small  t:  quite  a  bit 

of  confusion   in  your  home,  but  at   about 
four  or  five  a  good  deal  more  money  came 

it   than    before.      '  ill    with 

some    chest    trouble    at    about    eight,    and 
between    seventeen    and    tv  you 

were  ill  again  and,  while  il  I   very 

severe,   the   unhappiness   you   have   h 
endure  since  has   kept   you    from    perfect 
recovery.     But  you  arc  getting  over   the 
last  of  it  now. 


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110 


Chelsea  House 


The  Brand 


*  Good  Books 


The  Dancer  in 
the  Shadow 

By  Mary  Frances  Doner 

The  music  stole  through  the 
dimness  of  the  studio  and  there 
came  the  dancing  figure  of 
Ursula  Royle.  the  daughter  of 
a  proud  old  family,  who  could 
snatch  away  men's  senses  by  the 
sheer  magic  of  her  art.  They 
called  her  dance  "The  Moth  and 
the  Flame,"  and  to  her  flame 
there  came  the  moth,  Glenn  Mor- 
timer, one  of  her  own  people, 
aristocratic,  sophisticated,  madly 
in  love  with  the  beautiful  girl. 

But  there  was  still  another 
moth,  whose  wings  had  carried 
him  into  an  atmosphere  far  dif- 
ferent from  that  which  sur- 
rounded Ursula  and  Glenn.  This 
was  Andrew  Cameron,  the  vaude- 
ville singer.  He,  too,  loved 
Ursula,  and  for  his  sake  she  left 
the  luxuries  of  her  Washington 
Square  home  to  take  up  with 
Andrew  the  fantastic  life  of  the 
road. 

And  then  there  came  into  their 
lives  adventure  that  carries  the 
reader  along  in  breathless  pace 
to  the  thrilling  climax. 

"The  Dancer  in  the  Shadow" 

is  a  story  of  Xew  York  of  not 
so  long  ago  and  of  love  and  of 
high  romance  with  a  quality 
about  it  which  is  indeed  distin- 
guished. 


75c 


75c 


HCLSEA  HOUSE 
HJBLfflQg 


The  Trouble  vtfith  Being  a  Lad$> 


Continued  from  page  73 


"But  one  scream  finished  my  voice 
again,  and  I  can't  tell  yon  how  de- 
pressing that  was.  Nevertheless,  I 
did  go  on  to  Chicago.    They  held  off 

the  opening  for  a  few  days  while  I 
partially  recovered  my  powers  of 
speech. 

"They  agreed  then  that  I  should 
have  a  double  for  the  screaming. 
rhey  tried  out  a  number  of  appli- 
cants without  success,  because,  for 
some  reason,  the  idea  seemed  foolish 
to  all  of  them.  Then  at  the  last  min- 
ute my  colored  maid  offered  to  scream 
for  me.  I  gave  her  the  proper  cue 
l'ir  it  when  I  came  off  stage  by  giving 
her  my  handbag.  Everything  went 
well  on  the  opening  night  up  to  the 
screaming  scene.  I  dashed  offstage 
where  the  maid  was  waiting,  handed 
her  the  bag,  and  waited. 

"There  was  a  prolonged  silence. 
She  stood  there  in  abject  terror. 
Actually  her  face  was  white.  My 
astonishment  was  so  great  that  I  for- 
got to  scream  myself. 

"I  gesticulated  at  her.  and  some- 
how she  managed  to  find  her  voice, 
but  the  sound  that  she  let  out  was  a 
howl  more  like  a  steamboat  whistle 
than  anything  human. 


"The  actors  on  the  stage  were  con- 
vulsed  and  so  was  the  audience. 
After  that,  I  determined  that  cost 
what  it  might  I  would  have  to  do  my 
own  screaming,  but  soon  I  had  to  re- 
tire from  the  cast." 

Kay  says  she  finds  only  one  thing 
difficult  just  now,  and  that  is  to  live 
up  to  the  reputation  of  being  a  lady. 

"It  does  place  a  terrible  responsi- 
bility upon  one,"  she  said,  laughing. 
"On  location  not  long  ago,  and  a  very 
dreary  location  it  was,  a  star  paying 
a  visit  there  expressed  herself  em- 
phatically, and  didn't  mince  swear 
words,  either,  about  the  whole  thing. 
I  felt  that  way  myself  about  the  place, 
and  wanted  to  say  just  what  she  did. 
But  this  being  officially  a  lady  does 
impose  some  undesirable  restraints 
upon  one." 

All  the  same,  I  believe  that  Kay 
enjoys  this  business  of  growing  fa- 
mous as  a  social  luminary  of  the 
movies.  She  can't  help  comparing 
pictures  with  the  stage  now  and  then 
to  the  disadvantage  of  the  films,  be- 
cause on  the  stage  one  can  lose  one- 
self in  a  role,  thanks  to  the  two 
weeks'  preliminary  rehearsal.  But  at 
all  events  the  new  game  is  exciting. 


Over  the  Teacups 

Continued  from  page  53 


79-89  JEVLNTH   AVE. 
MW  VOBK  CITr 


buyers  from  the  studios  are  here  and 
what  a  flurry  they're  in !  They  can't 
decide  whether  to  ignore  Paris  and 
Xew  York  styles  and  dress  the  girls 
in  pictures  in  some  little  idea  of  their 
own,  or  to  beg  the  producers  to  get 
rid  of  most  of  the  present  incum- 
bents and  employ  girls  who  look  well 
in  the  new  fashions. 

"There's  a  big  conference  on  daily 
at  the  fashion  showings.  'Do  last 
year's  stars  fit  this  year's  clothes?' 
is  the  burning  question.  And  the 
answer  is  a  decisive  'no.' 

"Out  of  all  the  girls  in  pictures 
there  are  only  a  few  who  look  well 
in  the  new  fashions,  according  to  the 
experts.  Libyan  Tashman,  Ina  Claire, 
and  Gloria  Swanson,  of  course.  They 
have  a  way  of  adopting  any  fashion 
and  making  it  look  as  if  it  were  in- 
vented just  for  them. 

"Their  real  difficulties  arise  when 
they  are  confronted  with  the  problem 
of  dressing  the  cute  little  girls  like 
Nancy  Carroll,  Clara  Bow,  and  Bes- 
sie Love. 

"Almost  any  girl  could  look  smart 
in  the  simple  sports  clothes  of  last 
year  and  those  felt  cloches  that 
framed   the    face.      But  when   all  the 


new  hats  are  just  a  little  crushed  trifle 
draped  around  the  ears  and  falling 
off  the  back  of  the  head,  what  can 
they  do  about  the  girls  who  are  short 
of  forehead? 

"Fashion  experts  think  that  Loretta 
Young,  Carol  Lombard,  and  Joan 
Crawford  might  rate  with  the  really 
smart-looking  women  of  the  world, 
if  they  were  properly  dressed. 

"Marion  Davies  came  back  from 
Paris  disgusted  with  the  clothes  there, 
but  more  because  of  the  prices  than 
because  of  the  designs.  Just  because 
they  had  heard  that  Marion  makes  a 
lot  of  money,  they  thought  they  could 
make  enough  to  pay  off  the  national 
debt  by  selling  her  a  few  simple 
frocks.  Little  did  they  know  Marion  ! 
When  people  try  to  charge  her  out- 
rageous prices,  she  just  spends  a  quiet 
day  at  home  and  makes  herself  a 
dress  or  two. 

"Marion  was' up  at  the  Central 
Park  Casino  the  other  -night  at  the 
party  for  the  French  flyers.  So  was 
Marilyn  Miller.  They  looked  like 
two  youngsters  out  of  school  at  their 
first  party.  I  don't  see  how  they  do 
it  It's  only  the  very  young  girls  in 
Continued  on  page  113 


Ill 


Through   the   Mill   With   Miljan 


tinucd 

met,  although  at  the  time  he  had 

no  instrument.     The  manager,  being 

ovl  with  the  midget   propor- 

chestra,  said  that  he 

irnel  for 

the  actor,  and  pay  him   five  dollars 

week  if  he  would  help  in  the 

if  the  busim 

He  got  the  cornet     and  deducted 

the    price    from    Miljan's    next    pay 

cluck. 

Leavii  he    worked    with 

r  traveling  or  stock  com- 
panies, and  at  las  •  New  York, 
the  promised  'and  of  actors.  There 
he  v            -  mably  successful  in 

rk.    although    the    wolf    was 

by   his  dcM.r.     In   those 

da\  s  I  paid  during  re- 

and    often,    after    week- 
preparation,  a  play  in  which  he  ap- 
ed would  open,  run  one  night  or 
a  week,  and  dose. 

line   the   war   and   John   enlisted 
in    the    marine    service.      After    two 
-   he   was   r  and    returned 

again  to  his  profession.     But  theatri- 
cal   companies     were     springing    up 

;ck^  and  the 
g     overrun     with     them, 
were  more  prevalent 
ihn  had  pro- 
tied  the  movies,  he  now- 
turned    a    speculative    gaze    toward 
Hollywood. 

In  the  movie  mecca  he  found  his 

eked  by  the  fact  that  he 

had  no  motion-picture  experience.    A 

iter  he  would  have  been 

ract  by  the  time  he 

;querque.     Having  made 

the   rounds   of    the  with   no 

success    or    encouragement,    he    ac- 


frotn  | 

cepted  an  offer  to  appear  in  a  vaude- 
ville sketch  with  Willard  Mack,  whom 
he  had  known  in  New   York. 

Before  taking  the  playlet  t<>     I 
:i  to  break  it  in,  Miljan  went  to 
say    good-by    to    a    girl    in    the    Fox 
casting  office  who  had  been  kind  to 
him.     The  girl  SI  I  that  he  meet 

their  new  casting  director,  hut  Mil- 
jan objected,  saying  that  he  knew  the 
result  of  Mich  a  meeting.  However, 
the  girl  introduced  them,  and  Miljan 
was  sent  to  see  our  of  the  directors 
on  the  lot.  A  test  was  finally  given 
him  and  on  the  afternoon  of  the  da\ 
that  his  vaudeville  sketch  opened  he 
signed  a   contract. 

After  entering  pictures,  life  was 
for  John  comparatively  easy  sailing, 
and  when  the  talkies  came  in  he  went 
halfway  to  meet  them.  There  was 
only  one  period  when  he  became  a  hit 
discouraged  with  his  "picture  work 
and  that  was  when  he  made  such  a  hit 
playing  cra/v  men  that  he  was  given 
four  such  characters  to  do  in  suc- 
tion. 

"I  don  t  want  to  he  catalogued  as 
a  crazy  man!"  he  protested. 

John  Miljan  is  a  thoroughly  likable 
person,     clean-cut.     athletic,     and     as 

sh  and  unlined  of   face  as  young 
Frank  Albertson.     I  lis  chief  inl 
when  away   from  the   studio   is   gar- 
dening.     Recently  he  bought  a  home 
in  Beverly  Hills  with  a  big  garden. 

While  driving  me  home   from   the 

lio  he'made  a  wide  detour  so  that 

he  might  see  again  a  willow  tree  and 

some  shrubbery  that  he  had  planted 

in  the  yard  of  a  former  home. 

"A  man  always  returns  to  the  scene 
of  his  crime."  he  remarked. 


Just  Who  Are   the   Sophisticates? 

22 


Even    Mary    Pickford,   who   si 

vhere  the  brook 

and  river  m<  E  fifteen 

finally  decided  to  chuck 

k  and   take   a    whirl    in   the 

■ 

lary  it  must 
adn 

■ 
perhaps  the 

tan  in   I  d,  in  the  hettcr 

rd. 
I.:  her  that  way.     Al- 

the   intoxical 

the    poignant    hitter: 
appointn 

| 
sheared  and  laid  awav  in  a  satin-lined 


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But  Hollywood  was  just  beginning 
its  metamorphosis  of  young  Van  Mat- 
timore,  later  to  become  Arlen.    Like 

a  bolt  from  the  blue  he  fell  deeply 
in  love  with  a  girl,  well  established  in 
pictures,  professionally  far  ahead  of 
him.     I  ler  name  was  Jobyna  Ralston. 

I  wish  I  could  preserve  the  sit-by- 
the-fire  idea  of  Jobyna  you  may  have 
gained  from  her  curls  and  generally 
ingenuous  appearance.  As  a  matter 
of  truth  she  is  the  most  practical,  the 
sanest,  the  most  humorous  person  in 
the  world.  Simpering  is  as  far  out 
of  her  line  as  Garbo's.  She  has  a 
way  of  squaring  her  shoulders  and 
meeting  life  eye  to  eye. 

At  first  she  was  not  in  love  with 
Dick.  Not  particularly.  She  was 
merely  intrigued  by  him.  He  had 
happened  to  drop  in  one  afternoon 
with  a  group  of  her  friends.  She 
thought  him  cynical  and  wisecrack- 
ing, but  certainly  a  handsome  young 
man.  But  she  came  to  love  him  grad- 
ually, and  influenced  him  accordingly. 

Jobyna  mentally  whipped  Dick  into 
action.  She  scoffed  at  his  lack  of 
ambition.  She  ridiculed  his  inertia. 
Then  she  encouraged  him.  insisted 
that  he  could  succeed  if  he  wanted 
to.  She  refused  to  agree  that  fate 
had  licked  him  before  he  had  a  fair 
chance.  It  was  Jobyna's  theory  that 
every  fellow's  greatest  enemy  was  his 
own  shadow.  The  night  she  told  him 
she  loved  him,  and  would  marry  him. 
that  flicker  of  ambition  that'  had  been 
born  on  the  Bebe  Daniels  set.  began 
to  flame ! 

Dick  was  almost  pathetic  in  his  ef- 
forts to  rehabilitate  himself.  He 
shed  his  coat  of  nonchalant  inde- 
pendence and  donned  the  modest  gar- 
ment of  docility.  No  job  was  too  far 
away  for  him  to  investigate.  No  ru- 
mor of  a  part  too  slight  not  to  be 
run  down.  No  wait  too  long.  He 
spent  hours  in  anterooms  waiting  to 
see  moguls  who  might  become  in- 
terested in  him.  The  merest  bit  on 
the  set  became  a  painstaking  attempt 
at  characterization.     Tie  was  eager  to 


learn.  In  due  time  he  earned  a  stock 
job  with  Paramount. 

Actually  it  was  little  more  than 
glorified  extra  work — but  to  Dick  it 
was  opportunity  with  a  capital  O.  He 
made  it  his  business  to  know  the 
stories  of  pictures  on  the  verge  of 
production  and  to  introduce  himself 
to  the  director  as  a  candidate  for 
certain  small  parts  he  would  pick  out 
for  himself.  Now  and  then  he  got 
them. 

There  was  a  special  coming  up 
called  "Wings."  It  was  Paramount's 
biggest  picture  of  the  year.  There 
was  a  role  that  Dick  Arlen  wanted 
more  than  anything  else  in  the  world 
— except  Jobyna,  I  spent  the  eve- 
ning with  them  the  day  that  Dick 
took  a  test  for  the  role. 

He  came  into  Joby's  little  bunga- 
low and  threw  himself  on  a  couch, 
face  down.  He  was  waiting  for  noth- 
ing else  but  that  telephone  to  ring. 

The  rest  of  his  story  is  pretty  well 
known — his  success  in  that  role,  his 
recent  stardom  by  Paramount.  But 
the  part  that  continually  tickles  me  is 
that  the  makings  of  a  grand  sophisti- 
cate has  turned  Babbitt. 

The  same  boy  who  couldn't  stay  at 
home  now  goes  in  for  better  street 
lights  for  North  Hollywood,  his 
community. 

The  drifter  weeds  his  own  garden 
and  gossips  over  his  wall  with  the 
neighbors. 

The  cynic  who  trusted  no  one  al- 
lows his  doorbell  to  be  the  summons 
point  of  local  disputes,  and  he  even 
promotes  community  parades. 

The  husband  who  Avanted  a  vaga- 
bond sweetheart  now  raises  thunder 
when  his  wife  wants  to  bob  her  hair 
and  spouts  about  a  woman's  place 
being  in  the  home. 

The  waster  who  ran  through  a 
small  fortune  in  less  than  a  year  is 
operating  on  a  budget  plan,  and 
Heaven  help  the  butcher  who  charges 
a  pound  and  a  half  for  a  pound. 

Truly.  Hollywood  can  be  capri- 
cious ! 


Not  As  the  R 


omans 


Do 


Janet  Gaynor  never  eats  breakfast 
until  noon,  no  matter  how  early  she 
rises. 

Nancy  Carroll  always  rearranges 
her  entire  coiffure,  after  the  hair- 
dresser has  painstakingly  perfected  it. 

Richard  Arlen  won't  substitute  a 
coat  for  an  old  sweater,  unless  Jobyna 
Ralston  insults  him  into  it. 

The  Nordic  Nils  Asther  is  unhappy 


Continued  from  page  27 

unless  surrounded  by  Spanish  or  Chi- 
nese furnishings. 

John  Barrymore  doesn't  wear  gar- 
ters, and  a  glimpse  of  bare  Barrymore 
ankles    may    always   be   had    for   the 


looking. 


In  short,  by  their  eccentricities,  as 
much  as  by  their  profiles,  shall  you 
know  them. 


113 


Over    the   Teacups 

■.tinned  from  page    110 

picture-   who   look   old.      Take    Mary 
Brian,  for  instance.     Si  <  [uiet 

and  sedate  that  even  though  she  I 
baby    lace,   she   gives   the   impression 
of  rapidly  approaching  middle  age." 

:my  must  be  thinking  of  tw< 
three    other    people,    because    ii     she 

.  have  seen  Man-  Brian  a--  1 
her  the  other  night,  she  wouldn't  ever 
ty    with    her.      Mary 
and  Fl<  ake  are  the  champion 

hiker.-  of  Xew  York.  Mary  ha 
much  energy  that  she  isn't  the  I 
bit  tired  w!        -  s  home  from 

the  St  S       makes  it  a  rule  i 

theaters  or  parties  when 
she  is  working,  and  she  just  has  to 
all  her  surplus  energy  some- 
how. -  sh<  ilks.  Sh<  and  Florence 
set  out  from  the  Warwick  on  Fifty- 
fourth  Street  and  before  the\ 
«  !  they  realized  they 

at  Thirty-fourth.     What  a  treat 
aid   have  had   if   they   could 
have  seen  those  girl-  >  through 

ing  at  each 

•  i  tell  you " 

Fanny  suddenly  came  tc  life  after 

star:-  ry  one  in  the  room. 

"Lillian  Roth  is  coming  East  to  go 

vaudeville.      She    will    get    here 

almost  any  day  now.     I  feel  kind  of 

sorry  fur  the  kid,  because  she  means 

well.      She    just    couldn't    get    along 

the  people  at  the  studio,  though. 

y  she  is  difficult  to  man 

Pr  she    is.    but    so   are    most 

people  who  are  at  all  good  in  pictures. 

way,   Lillian  will  arrive   in  time 

hat  a  hit  she  is  making  in  the 

ictur-e  " 

Friendship  can  go  to  no  more  ridic- 

•.gths  than  that.     As  if  any 

one  "'ling  to  do  with  the  suc- 

.  Marx  Brothers  picture  but 

Harpo  !     When  the  Academy  awards 

for  the  rk  of   the  year  are 

given,  the  first  will  just  have  to  go 

to   Harpo    for  any   of   those   scenes 

where  he  chases  the  blonde. 


Babes   in   Hollywood 
Continued  from  page  94 

Her     uncle      from      Nebraska,      the 
uncle,  was  in  Hollywood,  her 
mother  had  written. 

him   up,"   the  letter 
ran.  he    has    lots    of 

money — and  you'd  better  be  nice  to 
him.  for  when  this  movie  business 
blows  up,  as  it  will  soon,  you  won't 
a  cent.  He  won't  know  you 
under  this  new  name,  of  coir 

Jane  slumped  into  a  chair.  If  only 
she  could  ask  Larry  to  help  her! 
But  that,  natura'  !iing 

she  could  possibly  do! 

TO    BE    I  F.D. 


Body  Beauty  is  returning 


Excess  Fat  is  d 


ooraei 


That  evidence  i<  everywhere,  la  < 
circle  you  mi-  slim  figures  coming  bad 
in  an  amazing  way.  The)   an  coming 
without  abnormal  exercise  ot  diet]  with* 

nut  hai  mini  ill 

Medical  sci«  nc<  Ins  found  iliat  a  weak 
gland  is  a  great  cause  ft  obesity.  It  baa 
learned  how  to  repair  tin-  deficiency — 
bj  feeding  the  gland.  Doctors  the  world 
over  now  employ  this  method.  It  baa 
me  a  standard  treatment.  A  new 
» i  a  lias  come  to  people  w  ho  w  ish  to  k<  i  p 
tin  it  beauty,  health  and  vim. 

fMarmola  prescription  tablets  embody 
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iMarmola  has  a  remarkable  record.  It 
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s  of  it.  Users  have  told  others,  and 
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Marmola  feeds  the  system  a  pland 
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Its  great  purpose  is  to  help  turn  food 
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It  also  excites  other  glands  to  activity. 


Obese  people  usually  lack  that  factor. 
Try  Marmola.  Price  £1.00.  Read  the 
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Another  Three   Cheers! 

Continued  from  page  34 


will  remember  her  smart  characteri- 
zation, her  seductive  costumes,  her 
adroit  handling  of  saucy  lyrics. 

There  is  in  all  her  work  a  nice  de- 
liberation, a  reassuring  poise,  an  easy 
naturalness.  Her  subtlety  is  welcome 
on  a  screen  boasting  none  too  much, 
her  underplaying  delightful  in  a 
welter  of  overacting.  Even  in  "The 
Arizona  Kid,"  a  sorry  vehicle,  Lom- 
bard displayed  superb  talkie  tech- 
nique, making  at  least  one  role  be- 
lievable in  an  altogether  false  picture. 

Following  "Safety  in  Numbers" 
Paramount  sent  Carol  East  to  decor- 
ate "The  Best  People" — a  stage  play 
that  enjoyed  some  success  five  years 
ago. 

"We  have  a  troupe  composed  of 
Xew  York  actors,"  said  Carol. 
"Frank  Morgan,  and  Miriam  Hop- 
kins, and  Dave  Hutchison,  from 
'Sons  o'  Guns.'  And  it's  all  quite 
dignified.  Correct,  you  know.  Xo 
horseplay.  A  far  cry  from  the  water 
fights  we  staged  at  Sennett's  during 
any  old  picture.  In  the  middle  of  a 
scene  you  could  expect  a  bag  of  water 


on  your  head.  It  was  real  sport. 
Then  you'd  fill  a  bag  and  dash  after 
the  enemy.  In  Manhattan  it's  all 
different.  It  seems  we're  artistes 
here." 

When  Al  Woods  saw  Miss  Lom- 
bard at  luncheon  one  day  he  told  his 
aid-de-camp  to  see  her  about  doing 
the  lead  in  Hemingway's  "A  Fare- 
well to  Arms,"  presented  early  in  the 
fall  on  the  stage.  But  Paramount 
stepped  in  and  signed  her  for  its  ex- 
clusive enjoyment.  So  she  has  def- 
initely shaken  off*  her  comedy  classifi- 
cation. 

"I  had  a  hard  time  convincing 
people  I  could  do  straight  parts,"  she 
said.  "But  once  they  saw  me  do 
them,  they  believed  me  when  I  said 
I  could.     Skeptical,  you  know." 

Offstage  she  resembles  Constance 
Bennett.  Both  are  wide-eyed,  strik- 
ing blondes  with  memorable  mouths. 
On  the  screen  Carol  is  a  distinct  type 
unto  herself.  She  has  the  equipment 
to  play  high  comedy  or  slapstick,  gold 
digger  or  debutante.  She  should  go 
far.    In  fact  she  is  already  on  her  way. 


The  Big  Goat-getter  from  Boston 

Continued  from  page  46 


and  stampeded  them  into  giving  him 
a  job.  His  feelings  matched  part  of 
his  first  costume,  the  red  necktie.  It 
became  his  banner.  He  almost  al- 
ways wears  one. 

Thus  began  sixteen  years  on  the 
stage,  beating  a  bumpy  path  through 
the  hinterlands,  but  mostly  spent  in 
stock  at  Newport,  Providence,  and 
Lynn,  and  a  two-year  stretch  at  the 
Castle  Square  Theater  in  Boston. 
Once  a  year  he  went  to  New  York  to 
look  over  plays,  and  abruptly  de- 
parted. They  weren't  good  enough. 
He  is  said  to  be  the  only  actor  ever  to 
choose  stock  in  preference  to  Broad- 
way and  poor  dramas,  and  to  win  a 
reputation  as  a  radical  in  advance  of 
his  appearance  in  New  York. 

Broadway  recognized  the  fact  that 
the  Boston  actor  had  the  stuff.  He 
flung  his  back-o'-me-hand  accolade, 
learning  the  rudiments  of  the  fine  art 
of  insulting  movie  people,  and  strode 
off  to  the  sticks.  He  played  every- 
thing, directed  his  own  companies, 
learned  drama  in  its  toughest,  rawest 
school,  majoring  in  the  roughneck 
characters  which  were  to  make  him 
known. 

"Dark  Rosaleen,"  "Bless  You.  Sis- 
ter," "Chicago."  "Glory  Hallelujah," 
"Zander  the  Great,"  and  "Gods  of 
Lightning"    occupied    him.      Rousta- 


bout heroes  stir  him.  He  likes  to  get 
his  teeth  into  meaty  drama.  Rough- 
and-ready,  two-fisted,  hot-tempered 
fellows,  whose  work  keeps  them  close 
to  the  soil  or  the  sea,  and  whose  emo- 
tions are  simple,  and  therefore  primi- 
tive and  rugged.  Miners,  construc- 
tion workers,  seamen — the  thick- 
necked,  brawny  lads. 

He  admits  two  ambitions :  to  ac- 
quire an  acting  technique  better  than 
any  man's  and  to  obtain  a  huge 
amount  of  money. 

His  side  rackets  net  him.  he  claims, 
more  cash  than  his  film  contract, 
though  his  stipend  is  greater  than  his 
verbal  scorn  would  indicate.  Two 
garages,  two  gasoline  stations,  two 
markets,  a  restaurant,  a  farm  for 
training  animals  for  movie  work,  hog 
farms,  and  a  whaling  business  oper- 
ating three  vessels  out  of  San  Pedro 
harbor,  are  among  his  investments. 
In  each  of  them  he  takes  an  active 
hand. 

His  business  decisions  are  based 
upon  quick  consideration.  Driving 
into  Los  Angeles,  he  bought  a  gaso- 
line station  for  four  thousand  dollars 
before  even  entering  the  city.  It  paid 
for  itself  in  a  few  months.  Another 
returns  him  one  thousand  dollars  a 
month  net  profit.  His  local  hog 
ranch  promises  to  rival  the  output  of 


115 


his  Dover,  Massachusetts,  farm  where 
he  breeds  porkers  and  ur  thou- 

I  annually. 

ne  day  he  remarked,  "I'm  lunch- 
\itli  three  underwear  men.    Their 
isition  looks  good.     Everybody 
■  s  underv  Next  day  lu 

part  owner  of  a  concern  making  gar- 
ments.    He  I  that  the  m 

Ik-  made  out  of  staple  commodi- 
rather  than  luxui 
While   a:    the   Castle   Square    The- 
ater, he  met  Beatrice  Allen,  a  Boston 
girl  acting  under  her  mother's  name 
Maybe  she  thought   he 
led   domesticating.      It    she   did. 
now.  after   thirteen   u  irs,    -lie   prob- 
the  futility  of  such  a  no- 
tnpeded  her. 
-and     >nre.    it     i>    possible — she 
ery  contrariness 
iim.     Anyway,  she  took  him  for 
and  won't  say  which 


it  turned  out  to  he.  What  with  him, 
and    their   two   children,    she   hasn't 

much  idle  time. 

He  paints  well  a  weakness  he 
never  would  confess  i"  Hollywood. 
Those  who  have  seen  his  oils 

-     that    hang   in   the 

family    home    al     Maiden    insist    they 

■Mil. 

Hi'   is  attempting,   by   an   apparent 
disregard  of  insinuating  remarks,  t<> 
live   down   the   inevitable   refen 
evoked  by  his  being  cast  in  "The 

-ion  Rower."  He  in-.i>ts  he  is  not 
the  floral  half  of  the  title,  and  1  tell 
him  that  the  role  was  given  him  to 
match  his  sunrise  dome.     Kathleen 

Norris's  Story  concerns  a  California 
fruit  grower  whom  "the  other 
woman"  tries  to  transform  into  a 
boulevardier.  It  is  perfectly  tailored 
to  the  measurements  of  his  sweeping 
talents. 


Meet  Those   Bab^   Bachelors 


■ 


Beneath  his  humorous  front  is 

plication.      Frank,   now 

in  pictures  off 

and  e   he   was   thirteen,   hard 

home    prompting    him.    as 
much  as  any  Thespian  yearnings 

future.     Always  he  has 

had  a  practical  and  an  inventive  turn 

of  mind.     In  hi{  1  he  labori- 

■    thump   a   drum    in 

the  hope  that  lie  could  make  the  hand 

rps — not 
that    lie    had    a  musical 

ernment  fur- 
army    hr  ••  <>rn    hy 
lucky  individu. 
He  really  desired  \>>  he  an  inr 
tant — and  skillful — cameraman:  - 
worl                                     in  the  Par- 
amount lab,  and  did  chores  in  gar 

•  and  wherever  he  could 

park  his  bright   face  and  willing  feet 

a   few  dollar-.      He  got   his   first 

acting  chance  in  rcp- 

"Wild     Company" 

and  "Just   Imagine"  gave  his  cheery 

and   amusing   wisecracks 

(unity,  while  "Men  With- 

I     the     more 

his  ability. 

Tlie  unassuming  Stanley  Smith 

•  a    when 
i  and  ] 
e  him  : 
"Kiki."     He  toured  in  "What  Price 
.'he    Royal    Family." 
ure-mind 
If    you     pi 

with  I )  "ins. 

Xancy 
n't   mind. 

!  Xancy 
and    David's    blue    -  his 


black  hair  always  neatly  brushed,  his 
every  act  a  little,  thoughtful  courtesy. 

David  was  horn  in  Kansas  City  all 
of  twenty-one  years  ago.  You  will 
him  next  in  "The  Big  Trail." 
His  chief  charm  is  that  hovish  sweet- 
which  flutters  feminine  hearts 
with  the  desire  to  refashion  the  world 
for  him  when  it  goes  all  awry. 

Bruce  Rogers,  Buddy's  brother  re- 
titled  from  the  "I'll"  that  had  served 
hack  in  (  )lathe,  Kansas,  all  of  his 
twenty  years,  i--  even  more  naive 
than  his  older  brother.  His  aim  is 
tragic  emotionalism.  Sensitive  to  the 
implied  criticism  which  he  faces 
Buddy's  relative,  he  has  a  double  bat- 
tle to  win.  In  school  even  kids  he 
hadn't  met  voiced,  their  preconceived 
opinion  that  he  must  he  conceited, 
just  because  he  was  kin  to  a  famed 
movie  name.  Bruce  stays  home 
nights,  not  yet  having  fallen  for  a 
bijou  beauty,  thinks  Buddy  the 
grandest  fellow,  and  i<  getting  ac- 
climated he  fore  he  selects  friends 
and  playtime  interests. 

A   lad  well  liked  hut   who  remains 
i-  Lew  A  red  of  social 

affairs  and  apparently  unaware  of 
girls.  You  went  right  through  the 
heartaches  and  ecstasies  of  "All 
Quiet"  with  Paul.  Lew.  who  L 
twenty-two.  and  of  winning 
ality,  carrie-  a  certain  romantic  air 
of    which    1  totally    uncon- 

ionally  >  '  >hn  Harrow. 

James  Ford,  Matty  Kemp,  or  Rex 
Bell  with  the  baby  bachelor  frater- 
nity, making  iut  of  work  and 
enjoying  life  with  that  ingenuous  in- 
ible  only  to  youth. 


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You  arc  underneath.     People  first  of 

all  see  the  cloak,  admire  it.  Then 
they  sec  you  inside  it. 

"Jumping  right  into  a  part,  with- 
out knowing  what  it  is  about,  would 
lie  like  flinging  on  some  one  else's 
cloak — probably  finding  it  a  size  too 
small,  or  too  large.  Then  people  no- 
tice you  first  and  the  misfit  after." 

Wisdom  from  Mona.  And  not  so 
had. 

The  mysterious,  calm  Jetta  says 
that  a  strange  force  does  seize  you 
while  you  act.     One  cannot  escape. 

"Work  of  any  kind  exhausts  you," 
la  Goudal  said  quietly,  as  if  chanting 
a  song.  "A  writer  often  feels  de- 
pleted after  he  has  written  a  story. 
An  interpretive  dancer  experiences  a 
strange  lassitude  after  she  has  ap- 
peared on  the  stage. 

"If  you  ride  in  an  airplane  you  feel 
giddy  Avhen  you  stand  on  earth  once 
again.  The  same  sensation  comes  to 
you  if  you  have  taken  a  long  train 
ride.  For  a  while  you  have  been 
swept  out  of  your  habitual  surround- 
ings— just  as  when  you  portray  a 
role." 

La  Goudal  has  had  enough  experi- 
ence on  the  stage  and  screen  to  know 
what  she  is  talking  about. 

Having  once  listened  to  a  remark- 
able  discourse   on   acting  by   Lenore 


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L'lric,  I  must  add  something  she  told 
me  about  this  strange  force  that 
sweeps  a  player  hither  and  yon,  if 
he's  not  careful. 

"Yes,  there  is  that  unseen  force 
we  call  the  flame  of  genius,"  Lenore 
said,  knowing  whereof  she  spoke. 

"All  the  forces  of  nature  can  be 
understood  and  handled  if  the  hu- 
man being  first  studies  them.  An  ig- 
norant person,  rushing  blindly  into 
surroundings  he  doesn't  know,  will  be 
overpowered  by  the  strange  forces  he 
must  face." 

Once  again  I  ask — is  acting  mad- 
ness? The  oddest  actions  are  ob- 
served among  the  gifted.  The  more 
gifted  they  are,  the  odder  their  ac- 
tions. 

One  thing  seems  certain.  Once  a 
player  soars  to  the  heights,  he  must 
control  the  flame  of  genius,  or  be 
consumed  by  it. 

All  actors,  it  appears,  crave  the 
flame  of  genius.  But  most  of  them 
meet  the  fate  of  Phcethon  who,  de- 
siring to  drive  the  chariot  of  the  sun, 
was  dashed  to  earth  by  bis  ignorance 
of  not  knowing  how  to  control  the 
terrifying  forces  confronting  him. 
And  most  actresses  are  like  Semele 
who,  demanding  to  face  supernal 
glory,  was  consumed  by  its  unearthly 
flame  when  she  beheld  it. 


Nix  on  the  Actor's  Life 

Continued   from  page  85 


The  player's  career,  too,  is  uncer- 
tain to  an  extreme  degree.  He  never 
knows  where  he  stands,  whether  on 
the  verge  of  a  new  success,  or  per- 
manent withdrawal  from  the  screen. 
Everything  conspires  to  delude  him 
about  his  future,  and  he  deludes  him- 
self. 

A  tew  years  on  the  screen  means 
the  end  of  nearly  every  career.  Then 
the  players  are  out — right  back  where 
they  started  from,  a  good  deal  de- 
moralized by  the  sudden  shift  from 
the  artificial  life  they  have  lived  to 
the  brutal  matter-of-factness  of  a 
clock-punching  world.  A  little  older, 
a  little  tired.  The  people  who  work 
behind  the  camera  are  still  there;  un- 
troubled by  their  added  years  and 
changing  appearance.  That's  the  pe- 
culiar hazard  of  the  actor's  life;  the 
thing  that  clips  one's  career  short  just 
as  one  is  beginning  to  learn  some- 
thing about  the  profession. 

Other  jobs  in  the  movies  are  in- 
secure and  beset  with  troubles,  but 
the  player's  wins  the  palm.  True,  it 
has  its  compensations.  Tt  has  glam- 
our,  and    thrill,   and    money    for   the 


minority  who  are  wise  or  luckv 
enough  to  hold  onto  it.  Some  crave 
life  of  that  type,  and  are  happier  as 
struggling  actors  than  they  would  be 
at  anything  else. 

But  Andy,  the  grip,  has  seen  hun- 
dreds come  and  go,  and  hope  and 
starve,  and  throw  away  fortunes  and 
then  ask  him  for  fifty  cents.  He 
doesn't  envy  them.  Their  hectic  ups 
and  downs,  their  sudden,  demoraliz- 
ing successes  and  failures,  their  de- 
lusions, would  tend  to  unbalance  even 
the  strongest  will.  Many  of  them 
can't  seem  to  take  care  of  themselves. 
When  a  prize  fighter  has  taken  too 
many  beatings,  he  becomes  "punch 
goofy."  and  that's  the  term  that  Andy 
would  apply  to  some  of  his  hard-up 
actor  acquaintances. 

Andy  thinks  the  actor's  lot  is  all 
right  for  those  who  like-  it.  He'll 
take  his  small  wage  every  Saturday, 
as  he  has  been  doing  for  several 
years.  And  if  his  studio  job  turns 
into  one  of  those  now-you've-got-it- 
now-you-haven't  propositions,  he'll 
promptly  leave  the  movies  for  some- 
thing that's  regular. 


117 


Da\Cns  Another   Goofy   Day 
tinucd  from  pagt  B3 

Nine  p.  m. — Famous  star  walks 
into  drawing-room  in  Beverly  Hills 
and  finds  three  of  his  ex-wives  pres- 
ent comparing  notes. 

Ten  p.  m. —  Man  sharpening 
blades  in  drug-store  window  on  High- 
land Avenm  ts  great  thr< 
who  ignore  Gloria  Swanson  riding  by 
in  her  limousine. 

p.     m. —  Parties     are     well 

launched    in    ninety-two    apartments 

in   the  Hollywood. 

Three  night  clubs  on  the  Boulevard 

up,  because  the  wait- 

nesome. 

Midnight. —  Prominent    star,    while 

dan.  the    Montmartre,    falls 

n. 

Twelve  five  a.  m. — Five  reporters 

-   to   city 
'iat  the  star  had  a  fight  with 
Mil-  Ian. 

.  m. — Most  of  the  six  thou- 
decided  to  go  to 
arly  are  in  bed  now. 
Two  a.  m. — Ninety-two  complaints 
are  it    Hollywood    police 

station  aboul  mch   noise   from 

parties  in  the  crazy  sector  of   Holly- 
■d. 
Three  a.  m. — Phineas  ^resi- 

dent of  Mo:  i  Corpora- 

tion, unable  sleep  for  worrying 
about  his  akespearean  produc- 

hange  the  name  hack 

ur  a.  in. — All  but  seven  of  the 

-and   persons   are   in   bed   by 

all   but   two 

:  home. 

e  a.   m. — Phiru  .   presi- 

dent of  Mo:  :cture<  Corpora- 

tion.  rec  early-morning  tele- 

gram from  the  home  office  not  to 
make  "Hamlet."  because  author  is 
not  well  known. 

<  thirty  a.  m. — Six  thousand 
alarm  clocks  in  Hollywood.  Beverly 
Hills,  Culver  City,  and  way  points. 
aror  ns    from 

slumber  ,-t"  calls 

for  eight  thirty.  Three  thousand  of 
them  an  -.   who  gladly  spring 

from  l>ed  to  clutch  a  day's  pay  check. 
and    are    carpenters    and 
electricians     wl  grumbling 

loudly.     Five  hundred  are  minor  ac- 

who  turn  over  for  an- 

other half  hour.     The  rest  are  stars 
and  directors,  who  throw  the  c 
out  of  windows  and  decide  to  be  late 
and  let  the  producer  complain  if  he 
dan 

One   in    a   Million 
rum  page  3i 
sing  secrets  of  the  ages, 
lashes  she  wears  are 
the  trickiest  things.     I   wish  I  could 


DRAWING  CEEEEE 
EEEAEUEE  WITH  EECEIT 

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Careful  training  by  Federal  Instructors  has  taught  him  to 
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More  than  fifty  famous  artists — making  big  incomes  them- 
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US 


Chelsea  House 


The  Brand  of 


od  Books 


<Tke 

Lonely  Heart 


By 
Mar?  Frances  Doner 

"Rose  stood  in  the  chill  dusk 
with  brilliant  early  stars  rocking 
in  the  windy  heavens,  waiting." 

In  this  fashion  begins  a  story 

which  has  in  it  all  the  elements 
that  make  for  the  hot  of  good 
reading — suspense,  romance,  in- 
trigue, adventure.  For  Rose  was 
waiting  to  see  David  Marsh  pass 
by— David,  whose  coming  to  the 
iittle  town  had  caused  such  a  flut- 
tering of  the  local  dovecotes. 
To  Rose,  it  seemed  as  if  a  star 
had  fallen  down  into  the  dark- 
ness of  her  lonely  heart,  and 
I  )avid  were  that  particularly 
bright  star. 

Here  is  no  usual  story  of  the 
city  man  and  the  small-town  girl, 
though  Heaven  knows  that  the 
Midwest  town  when'  Rose  lived, 
and  whither  David  had  come 
from  sophisticated  Harvard,  was 
small  indeed.  As  a  matter  of 
fact,  there  is  nothing  of  the  usual 
in  the  entire  unfolding  of  the 
tragedy  of  a  lonely  heart  which 
the  author  so  deftly  portrays.  It 
is  a  strangely  moving,  deeply  felt, 
tinder  love  story  that  brings 
quick  tears  to  the  eyes  of  the 
most  hardened  reader,  and  yet  at 
the  end  there  is  the  -  irl  of  true 
happiness  that  comes  only  after 
suffering. 


rnasEA  nous 
TUBLisncrj; 


get   a    set.      I'd   just   love   to   spring 
them  on  the  girls  at  home." 

The  third  assistant  director  stuck 
Ids  head  in  the  door  to  tell  Betty  and 
Hugh  that  they  were  ready  for  them 
on  the  set.  As  we  left  Pearl's  dress- 
ing room,  Vivian  was  saying  to  Mr. 
llohart.  "Now,  please,  Mr.  Gocart, 
move  my  car  before  you  get  busy," 
and  Betty's  maid  was  running  in  six 
directions  for  a  bottle  of  smelling- 
salts  and  some  aromatic  spirits  of 
ammonia,  for  Vivian  had  a  firm  hold, 
on  Betty's  arm,  and  it  looked  like  a 


long,  hard  afternoon  for  the  home 
team. 

As  I  emerged  from  the  studio,  I 
noticed  Mr.  Hobart  driving  fran- 
tically up  and  down  the  street,  vainly 
looking  for  a  place  to  park  Vivian's 
coupe. 

And  that,  my  pets,  shows  one  of 
the  many  reasons  you  can't  get  into  a 
studio  to  see  Betty  Compson,  and 
Richard  Dix,  and  the  hundred  and 
one  others  whom  you've  adored  on 
the  screens  of  Salt  Lake  City  and 
points  north  and  south. 


A  Confidential  Guide  to  Current  Releases 

Continued  from  page  61 


£ 


Dowell  the  mother.     Kenneth  Thomson, 
Sharon   Lynn,  Joyce  Compton. 

"Lawful  Larceny"— RKO.  Wife  re- 
captures her  husband  from  toils  of  ad- 
venturess and  takes  her  money  besides, 
in  film  providing  capital  dramatic  act- 
ing for  Bebe  Daniels.  Lowell  Sherman 
leading  man  and  director.  Olive  Tell, 
Kenneth  Thomson,  Purnell  Pratt, 
Helene  Millard. 

"For  the  Defense" — Paramount.  An- 
other fine  performance  by  William  Pow- 
ell in  film  that  has  moments  of  inspira- 
tion. Lawyer  bribes  juror  in  effort  to 
save  man  he  hates  for  woman  he  loves, 
and  his  plans  crumble.  Kay  Francis 
the  girl,  who  promises  to  wait  until 
Powell   returns  from  prison. 

"Safety  in  Numbers" — Paramount. 
Buddy  Rogers  lives  with  three  chorus 
girls  and  remains  pure  and  innocent, 
even  though  the  girls'  conversations 
could  not  be  printed.  Even  so  he  does 
right  by  little  Nell  and  marries  the  coy- 
est. Carol  Lombard,  Kathryn  Craw- 
ford,  Josephine   Dunn. 

"So  This  Is  London" — Fox.  Amus- 
ing caricatures  of  the  Englishman  and 
American,  as  imagined  by  ignorant  on 
opposite  shores.  Love  affair  brings 
families  together,  enmity  of  fathers  sep- 
arate them  for  a  while.  Will  Rogers 
irresistible.  Lumsden  Hare  leaves  noth- 
ing undone.  Maureen  O'Sullivan  sweetly 
real;    Prank   Albertson,  Irene   Rich. 

"Rough  Romance" — Fox.  Superb 
scenery  is  background  of  ordinary  lum- 
ber-camp yarn.  George  O'Brien  proves 
that  be  is  excellent  in  talkie.-,,  as  lum- 
berjack in  love  with  storekeeper's 
daughter.  Some  shady  deals  brew  trou- 
ble. Heroine  is  Helen  Chandler.  An- 
tonio Moreno,  Noel  Francis,  Eddie 
Borden. 

"Florodora  Girl,  The" — Mctro-Gold- 
wyn.  Much-heralded  film  is  disappoint- 
ing, if  you  expect  too  much.  Supposed 
to  lie  life  in  gay  '90s,  but  incorrect  as 
to  details.  Marion  Davies  excellent  as 
vapid  show  ;.;irl  of  past.  Lawrence  Gray 
all   right  a-  leading  man. 

"Lady  of  Scandal,  The"— Metro-Gold- 
wyn.  Drawing-room  drama  with  the 
old.  reliable  plot  of  show  e^iri  and  gen- 
tleman of  birth,  and  hostility  of  gen- 
tan's  family.  English  accent  ramp- 
ant. Ruth  Chatterton  wasting  her  tal- 
ent, Basil  Rathbone,  Ralph  Forbes, 
Nance    O'Neil. 

"Ladies  of  Leisure" — Columbia.  A 
party  girl  falls  in  love  with  an  artist, 
who,  like  most  screen  artists,  ha-  a 
grand    dame   of   a    mother   whose    objec- 


tions make  the  plot  go  round.  Barbara 
Stanwyck  good.  Ralph  Graves,  Lowell 
Sherman,  Marie  Prevost,  Nance  O'Neil. 
Humor  saves  it. 

"Big  Pond,  The" — Paramount.  Mau- 
rice Chevalier,  almost  songless.  French- 
man brought  to  this  country  by  chew- 
ing-gum king  to  show  him  up  and  break 
romance  with  American's  daughter. 
What  does  he  do  but  show  our  boys 
how  to  make  gum,  and  win  the  girl, 
too?     Voila!     Claudette  Colbert  good. 

"Man  from  Blankley's,  The"— War- 
ner. John  Barrymore  in  broad  farce, 
as  nobleman  taken  for  a  hired  "guest" 
to  fill  in,  because  he  becomes  drunk 
and  gets  into  wrong  house.  Emily  Fitz- 
roy,  Loretta  Young,  the  latter  turning 
out   to   be    the   visitor's   old   sweetheart. 

"Journey's  End"— Tiffany.  Faithful 
reproduction  of  outstanding  stage  war 
play.  Devoid  of  love  interest  and  dra- 
matic formula  of  screen,  but  strangely 
revealing  life  in  a  dugout.  Cast  in- 
cludes Anthony  Bushell,  Charles  Ger- 
rard,  Billy  Bevan,  Colin  Clive,  Ian  Mac- 
laren,  David  Manners. 

"Lady  To  Love,  A" — Metro-Goldwyn. 
Vilma  Banky's  first  all-talking  effort  is 
admirable.  A  grape  grower  picks  a 
waitress  for  his  wife,  sends  her  a  young 
man's  photo  as  his  own,  and  things  hap- 
pen. Edward  G.  Robinson  brilliant, 
Robert  Ames  satisfactory  as  young  man. 


RECOMMENDED— WITH 
RESERVATIONS. 

"Sins  of  the  Children" — Metro-Gold- 
wyn. Hokum  melodrama  about  woes  of 
parenthood,  the  scenes  being  tearfully 
chewed  by  Louis  Mann,  of  the  stage. 
All  the  tricks  of  the  footlights.  Robert 
Montgomery,  Elliott  Nugent,  Leila  Hy- 
ams,  Mary  Doran,  Francis  X.  Bush- 
man, Jr. 

"Eyes  of  the  World,  The"— United 
Artists.  Funny  curiosity  unless  you'rt 
one  of  the  boasted  million  or  two  Har- 
old Bell  Wright  tribe  and  have  an  inner 
light  on  the  meaning  of  his  tin 
Wicked  city  folks  and  adolescent  nymph 
of  hills,  shocked  innocence,  gun  play. 
Una  Merkel,  Fern  Andra.  Nance  O'Neil, 
John  Holland. 

"On  the  Level" — Fox.  Decidedly  be- 
low level  is  the  plausibility  of  this  story 
of  sweetly  trustful  steel  worker,  Victor 
Mel.aglen.  and  vampish  member  of 
crook  gang,  Lilyan  Tashman.  The  lat- 
ter gives  picture  certain  attraction. 
William    Harri]  Fifi    Dorsay. 


II-) 


"In     Gay      Madrid"     Metro-Goldwytl. 
:u  Madrid,  i:  is  ■  col- 
I  to  be  ■  chap- 
ter   in    the    I  chap 
whose  n                                            luca- 
Ramon    MoYarro,    Dorothy    Jor- 
dan,                                     and     mum 
otrn 

'"Redemption" — nCetro-Goldwyn.    Tol-  ' 
(  hout  phil 

phy  thin 

remnant,  not  by  John  Gil-  | 

Hero  falls  in  love  with 
fianci  nd,  marries  her,  later  pre- 

ruarry    his 
friend.        Eleanor      Boardman,      R 


Information,    Please 

i>   fw  is   brown  eyes  and 

n-bro\vn  hair       -  red" 

for  :•  DeMiUe  in  ll,J4. 

:  can 
her    at  I  .uild, 

•d. 

Mi--    N  -     :. i.man. — Fannie   Rrice 

and  Belle  Baker  are  both  famous  Jewish 

•  1ms  were 

gh  to  warrant  continued 
:inn    Williams    was   the 
:i  "My  Man."     He  played  recently  in 
it.'-    "The    Bad    Man."    and  I 
Ni  rma  Shearer  is  twenty-  | 
Mrs.    Irving    Thalberg    and  | 
had  a  s<»n  last  August.     Chester  Morris  i>  I 

ght  and  married  to  Suzanne  Kil- 
borne.      i  "     :ie    is    fifty-one    and    di- 

•.nce  Oakley.  Josephine 
Dunn  asked  to  be  released  from  her  Metro- 
Golt!  ract   in  order   to   free   lance, 

and   then  the   free-lancing  business   turned 
out  badly.    Al 

o'   Guns."      N'oah  and  Wallace   Beery   are 
brothers.     I  have  nothing  to  do  with  plac- 
n  the  magazine,  but   I'll  tell 
lid  like  to  ■ 

ntral   Avenue, 
■ 
■1  with  other  movie  fans  from  all 
world.     Any  candidates?     I  never 
ticial  upholsterer  around  the 
.mile,  but  perhaps  yon  could  cre- 
ate a  - 

Billy    Biri  i    warble   or   trill? 

White,    christened    Alva,    was    born 
in    Pater  -       ,   July  25,    1907. 

She  Virginia. 

She  took  a  bus  came  a 

tary,  ami  was  a  script   girl  at  the  studios 
in  I!  got  her  first  film 

I   tall  and 

!  her 

hair    is    usually    red.      Clar.i 

film    is    "Her    UV  !]een 

■    ■ 

Ann  n    is 

Bf  have 

a  heart !     A  list  of  all   Ran 

ara  La  Marr,  in  "Trifl 

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May 

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For  the  Eake  of  fnlrnees,  we  will  not  accept 
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SONG  WRITERS/ 


J   Substantial  Advance    Royalties 
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Oortl'M)  ut  t-f.- ■* 
St.: 

UNITED  PORTRAIT  COMPANY 

900   W.  L.k.  St.,   Dspt.  W-1320,   Chicago,  III. 


120 


Statement  of  the  Ownership,  Manage- 
ment, etc.,   required   by   the    Act  of 
Congress  of  August  34,  1912, of  PIC- 
TURE    PLAY,    published    monthly, 
at  New  York,  N.  Y.,  for  October  1, 
1930. 
State  <>f  New  York,  Count;  of  Kew  York  (as.) 
Before  me.  a  Notary  Public,  in  and  for  the 
State   and    count;    aforesaid,    personally    ap- 
l)cnrcil    George   C.    Smith,    who,    having    been 
duly  MMirn  according  to  law,  deposes  and  Bays 
ihai    he    Is    Vice    I'resldenl    of    the    Streel    & 
Smith    Publications,    Inc.,    publishers   of    Pic- 
iiki:   I'm,  and  that    the  following   is,   lo  the 
best    of    his    knowledge    and    belief,    a     true 
titntement     of     the    ownership,    management, 
ol   the  aforesaid  publication  for  the  dale 
shown  in   the  above  caption,  required  by   the 
Act    of    Aliens!    24,    1912,    embodied    in    see 
lion    ill.   Postal    Laws   and    Regulations,    to 
wit  : 

1.  That  the  names  and  addresses  of  the 
publisher,  editor,  managing  editor,  and  busi- 

monagers  an-:  Publishers,  Streel  ft 
Smith  Publications,  Inc..  79-8!)  Seventh  Ave 
nuc,  New  York,  N.  Y.  ;  alitor.  Norbert  Lusk, 
T'.t  Seventh  Avenue,  New  York.  N.  Y.  ;  man- 
aging  editors,   Street    &   Smith    Publications, 

Inc.,      79-89      Seventh       Avenue.      .New       York. 

N.    Y. :    business   managers,   street    St    smith 

Publications,  Inc..  7!>-S!l  Seventh  Avenue, 
New    York,    N.    Y. 

2.  That  the  owners  are  :  Street  &  Smith 
Publications,  Inc.,  79-89  Seventh  Avenue. 
Xew  York.  N.  Y'.,  a  corporation  composed  of 
Ormond  (J.  Smith,  89  Seventh  Avenue,  Xew 
York.  N.  Y.  ;  George  C.  Smith,  8!)  Seventh 
Avenue,  New  York,  N.  Y". :  George  C.  Smith, 
Jr..   89    Seventh   Avenue,    New   York,   N.   Y. ; 

(era  A.  Could,  S!l  Seventh  Avenue,  New 
York,  N.  Y'.  ;  Ormond  Y.  Could.  89  Seventh 
Avenue.    New   York,    N.    Y". 

That  the  known  bondholders,  mortga- 
gees, and  oilier  security  holders  owning  or 
holding  1  per  cent  or  more  of  total  amount 
of  bonds,  mortgages,  or  other  securities  are: 
None. 

-I.  That  the  two  paragraphs  next  above, 
giving  the  names  of  the  owners,  stockholders, 
and  security  holders,  if  any.  contain  nol  only 
the  list  of  Stockholders  and  security  holders 
as  they  appear  upon  the  books  of 'the  com- 
pany, but  also,  in  cases  where  the  stockholder 
or  security  holder  appears  upon  tbe  books  of 
the  company  as  trustee  or  in  any  other 
fiduciary  relation,  the  name  of  the  person  or 
corporation  for  whom  such  trustee  is  acting, 
is  given  ;  also  that  the  said  two  paragraphs 
contain  statements  embracing  affiant's  full 
knowledge  and  belief  as  to  tbe  circumstances 
and  conditions  under  which  stockholders  and 
security  bidders  -who  do  not  appear  upon  tbe 
books  of  thi>  company  as  trustees,  hold  stock 
and  securities  in  a  capacity  other  than  that 
of  a  bona  fide  owner,  and  this  affiant  has  no 
reason  to  believe  that  any  other  person,  as- 
sociation, or  corporation  has  any  interest  di- 
rect or  indirect  in  the  said  stock,  bonds,  or 
other  securities  than  as  so  stated  by  him. 

GEORGE!   C.   SMITH,   Vice   President. 

Of     Street     &     Smith      Publications.      Inc.. 
publishers. 

Sworn  to  and  subscribed  before  me  this 
1st  day  of  October.  1930.  Oe  Witt  ('.  Van 
Valkenburgh,  Notary  Public  No.  12.  New- 
York  COunty.  (Mv  commission  expires  March 
30,    1932.) 


REAL   LOVE 

Magazine 

A  mirror  in  which  people's  love 
lives  are  reflected. 

Buy  it  now. 

On  all  news  stands  the  second 
and  the  fourth  Wednesday  of  every 
month. 

20c   per  copy. 

STREET      &      SMITH 
PUBLICATIONS,     Inc. 

79  Seventh  Ave.,  New  York,  N.  Y. 


Joan  Crawford,  in  "Across  to  Singapore." 
Renee  Adoree  made  "Forbidden  Hours" 
charming  ;  Anita  Page  was  in  "The  Fly- 
ing Fleet";  Dorothy  Janis,  in  "The  Pa- 
gan";  Dorothy  Jordon,  in  "Devil-May- 
Care,"  "In  Gay  Madrid,"  and  'Call  of  the 
I  lesh." 

All  for  Ramon. — Yes,  my  identity  is  a 
secret,   and    I'll   bet   people   like   mysteries 

better  than  they  like  me!  Ramon  No- 
vano,  christened  Ramon  Gil  Sameniegos, 
was  horn  in  Durango,  Mexico,  February 
6,  1899.  He  was  formerly  a  dancer  on  the 
Stage.  He's  the  oldest  of  ten  children,  and 
several  sisters  are  nuns.  See  above.  Doro- 
thy Jordan  is  the  heroine  in  "Singer  of  Se- 
ville," renamed  "Call  of  the  Flesh."  She 
can  he  reached  at  Metro-Goldwyn  studio. 
Write  Loretta  Young  at  hirst  National  and 
Arthur  Lake  at  RKO. 

M.  A.  L. — Many  of  your  questions  are 
answered  elsewhere  "on  this  page.  Paul 
Lukas  was  horn  in  Budapest,  May  26, 
1897.  Barry  Norton  was  horn  June  16, 
1905,  and  his  real  name  is  Alfredo  de  Bira- 
ben.  He  is  unmarried.  Barhara  Stanwyck 
is  in  her  early  twenties  and  is  Mrs.  Frank 
Fay.  Leila  Hyams's  name  is  pronounced 
Hy-ams,  accent  on  Hy. 

Mary  Hunter. — Keeping  track  of  Molly 
O'Day's  weight  is  like  saying  the  sun  sets 
every  night  at  eight,  or  something  equally 
variable.  Didn't  you  know  her  weight 
ruined  her  film  career?  John  Gilhert  was 
born  July  10,  1895  ;  he  weighs  135.  Hedda 
Hopper  is  five  feet  seven.  Mona  Maris  is 
twenty. 

A  True  Clara  Bow  Fan. — I  can't  un- 
derstand wdiy  your  English  magazines 
should  give  Clara's  birth  date  as  August 
4th ;  ever  since  she  first  became  known,  her 


birth  date  has  been  given  at  July  29th. 
Her  late  films  are  "Dangerous  Curves," 
'Saturday  Night  Kid,"  "True  to  the  Navy," 
"Love  Among  the  Millionaires,"  and  "Her 
Wedding  Night."  I  don't  know  which  of 
her  pictures  have  had  photoplay  editions, 
but  perhaps  if  you  write  to  the  publicity 
department  of  Paramount-Publix  Corpora- 
tion, Paramount  Building,  New  York  City, 
they  will  he  able  to  tell  you.  No,  she  has 
not  married  Harry  Richman. 

Ciiris. — I'd  never  kill  you  for  the  few- 
questions  you  ask — there  are  many  hetter 
candidates  for  killing !  It's  beyond  me 
whether  Lupc  and  Gary  Cooper  will  ever 
marry.  Janet  Gaynor  has  kissed  and  made 
up  with  Fox  and  will  he  seen  again  oppo- 
site Charlie  Farrell.  Jackie  Coogan  is  to 
make  "Huckleherry  Finn."  I  don't  know 
whether  Alice  White  ever  attended  Public 
School  No.  4  in  Paterson,  New  Jersey. 

Beautiful. — You  needn't  beseech  me  to 
put  your  answers  in  the  magazine.  I  don't 
neglect  any  one,  but  old  man  time  has  to 
elapse  before  the  answers  appear.  William 
Powell  uses  his  real  name;  he  was  born 
in  Kansas  City.  As  to  stars  born  in  Okla- 
homa, there's  Will  Rogers  from  Claremore, 
and  Kay  Francis  from  Oklahoma  City. 
Anita  Page  is  twenty.  Marion  Shilling  is 
from  the  stage. 

Fraxkik. — I'm  sorry,  but  my  Boy 
Scouts  failed  to  do  their  good  deed  one 
day  and  they  have  brought  me  no  infor- 
mation so  far  about  Charles  Kaley.  But 
be  patient,  and  I'll  learn. 

Dorothy  Fisher,  7  Ailsa  Street,  Poplar, 
London,  England,  would  like  to  correspond 
with  an  American  fan — or  any  other  fan. 
All  right,  boys  and  girls,  take  your  pens  in 
hands. 


Addresses  of  Placers 


Richard  Allen,  Mary  Brian,  Marion  . Shil- 
ling, Bruce  Rogers,  Marlene  Dietrich,  Charles 
Ruggles,  Warner  Olanil,  Ruth  Chatterton, 
Clara  Bow,  Olive  Brook,  Charles  ("Buddy") 
Rogers,  Gary  Cooper,  William  Powell,  Nancy 
Carroll,  Jean  Arthur,  Jack  Oakie,  Kay  Fran- 
cis. Fredric  March,  Jeanette  MacDonald,  Lil- 
lian Both,  Richard  Gallagher,  Mitzi  Green, 
Harry  Green,  Phillips  Holmes,  at  Paramount 
Studio,    Hollywood,    California. 

Greta  Garbo,  Leila  Hyams,  Bessie  Love, 
Edward  Nugent,  Ramon  Novarro,  Norma 
Shearer,  John  Gilhert,  William  Haines,  Marion 
]>avies,  Robert  Montgomery,  Kay  Johnson, 
Mary  Doran,  Charles  King,  Wallace  Beery, 
Kaquel  Torres,  Joan  Crawford.  Conrad  Nagel, 
Anita  Page,  Buster  Keaton.  John  Mack 
Brown,  Lewis  Stone,  Charles  Biekford,  Cath- 
erine Dale  Owen.  Gilbert  Roland,  Joan  Marsh, 
at  the  Metro-Goldwyn  Studio,  Culver  City, 
( 'alifornia. 

Ronald  Colman,  Douglas  Fairbanks,  Mary 
I'ickford,  Norma  Talmadge,  Chester  Morris, 
Al  .lolson.  Evelyn  Laye,  Joan  Bennett,  Do- 
lores  del  Rio,  at  the  United  Artists  Studio, 
7100  Santa  Monica  Boulevard,  Los  Angeles, 
( 'alifornia. 

Richard     Barthelmess,     Dorothy     Mackaill, 

Sidney  Blackmer,  Inez  Courtney.  Marilyn 
Miller.  Ian  Keith,  and  Douglas  Fairbanks,  Jr., 
at  the  First  National  Studio,  Burbnnk,  Cali- 
fornia. 

Lupe  Velez,  Mary  Nolan,  Lewis  Ayre.s,  John 
Holes,     Jeanette     Loft',     Barbara     Kent.     Glenn 

Tryon,  tit  the  Universal  Studio,  Universal 
City,  ('alifornia. 

William  Boyd,  Robert  Armstrong,  Fred 
Seoit,  Ann  Harding,  Helen  Twelvetrees, 
Kussell  Gleason,  Constance  Bennett,  Eddie 
Quillan,  at  th'  Lathe  Studio,  Culver  City, 
I  'alifornia. 

George  O'Brien,  Edmund  Lowe.  Enrle  Foxe, 
Janet  Gaynor,  Kenneth  MacKenna,  Dixie  Lee, 
Mona  Maris,  I'ili  Dorsay.  Charles  Farrell, 
Victor  MacLaglen,  Lois  Moran,  Frank  Al- 
bcrtson.  Parrel!  MacDonald.  Marguerite 
Churchill,  David  Rollins,  Warner  Baxter. 
Sharon  Lynn,  at  the  Fox  Studio.  Western 
Avenue,  Hollywood,  California. 

Edna   Murphy,  John  Barrymore,  Irene  Del- 

roy,  Grant  Withers.  James  Hall.  Joe  E. 
Brown,  Winnie  Lightnor,  Marian  Nixon,  at 
the  Warner  Studio.  Sunset  and  I'.ronson,  Los 
Alleles,    California 

Sally  Ftlane,  Fneh  Trevor,  ivhe  Daniels. 
Hetty   Coinpsoii,   Olive1   I'.orden,   Sue   Carol,  Ar- 


thur Lake.  June  Clyde,  Irene  Dunne.  Karl 
Dane,  and  Richard  Dix,  at  the  RKO  Studio, 
7SO  Gower  Street,  Hollywood,  California. 

Allene     Kay.     (5012     Hollywood     Boulevard, 
Hollywood,  California. 

Robert    Frazer,    6356    La    Mirada    Avenue, 
Los   Angeles,   California. 

Patsy    Ruth    Miller,    808    Crescent    Drive, 
Beverly  Hills,  California. 

Robert    Agnew,    6357    La    Mirada    Avenue, 
Hollywood,  California. 

Dorothy  Revier,  1367   North  Wilton  Place. 
Los  Angeles,  California. 

Julanne    Johnston,    Garden     Court    Apart- 
ments, Hollywood,  California. 

Malcolm    McGregor,    6043    Selma    Avenue, 
Hollywood,    California. 

Jackie   Coogan,   673   South   Oxford   Avenue, 
Los  Angeles,  California. 

Ivor  Novello,  11  Aldwych,  London,  W.  C.  2, 
England. 

Harold    Lloyd,    6640    Santa    Monica    Boule- 
vard, Hollywood,   California. 

Anna   May   Wong,   241    N.   Figueroa   Street, 
Los  Angeles.  California. 

Eileen  Percy,  154  Beechwood  Drive,  Los 
Angeles,  California. 

Herbert  Rawlinson,  1735  Highland  Street, 
Los  Angeles,  California. 

Forrest  Stanley.  604  Crescent  Drive,  Bev- 
erly Hills,  California. 

Gertrude  Astor,  1421  Queen's  Way,  Holly- 
wood, California. 

Lloyd  Hughes,  616  Taft  Building,  Holly- 
wood, California. 

Virginia  Brown  Faire,  1212  Gower  Street, 
Hollywood.   California. 

Theodore  von  Eltz,  1722 1,;.  Las  Palmas, 
Hollywood,  California. 

William  S.  Hart,  ti  104  Sunset  Boulevard, 
Hollywood,  California. 

Estelle  Taylor,  5254  Los  Feliz  Boulevard, 
Los  Angeles,   California. 

Fat  O'Malley,  1832  Taft  Avenue,  Los  An- 
geles,  California. 

Ruth  Roland,  3828  Wilshirc  Boulevard,  Los 
Angeles,    California. 

Barry  Norton.  85S  West  Thirty-fourth 
Street,  Los  Angeles,  California. 

George  Duryea,  5959  Franklin  Avenue, 
Hollywood,    California. 

Neil  Hamilton,  6118  Selma  Avenue,  Holly- 
wood, California. 

Laura  La  Plnnte,  Margaret  Livingston,  and 
Dr.. tin-  "evicr,  1S3!)  Taft  Avenue,  Holly- 
wood, California. 


READ  THE  BEST- 
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This  year  we  celebrate  our  seventy-fifth  birthday. 

When  a  publishing  enterprise  like  this  occupies  first  place 
in  its  particular  line  of  industry  after  that  period  of  time,  it  is 
not  accidental. 

Since  1855.  when  Francis  S.  Smith  and  Francis  S.  Street 
shook  hands  over  their  partnership  agreement,  the  firm  of 
STREET  &  SMITH  has  specialized  in  the  publication  of  fiction. 

Early  in  our  publishing  experience  we  were  brought  to  the 
realization  that  he  profits  most  who  serves  best.  Therefore,  we 
spent  millions  of  dollars  in  determining  the  wants  of  the  reading 
public  and  we  supplied  those  wants.  We  did  not  try  to  force  our 
own  ideas  of  literature  on  any  one. 

The  service  rendered  by  the  firm  of  STREET  &  SMITH  is 
a  vital  one.  Through  the  media  of  weekly  story  papers,  maga- 
zines and  books,  we  afforded  mental  relaxation,  entertainment  and 
a  love  for  reading  that  could  not  be  supplied  by  anything  else. 

Therefore,  when  we  print  on  the  covers  of  our  magazines 
the  slogan.  "READ  THE  BEST— STREET  &  SMITH'S 
MAGAZINES."  we  sincerely  believe  that  the  advice  is  sound. 
Our  various  publications  are  the  best  of  their  respective  classes. 

Look  for  the  name  of  STREET  &  SMITH  on  the  magazines 
you  buy.     You  cannot  go  wrong  by  relying  upon  it. 


1 


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by  this  trademark. 


STREET    &   SMITH  PUBLICATIONS,   INC. 

79  Seventh  Avenue,  New  York,  N.  Y. 


® 


122 


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Out  of  a  Paris  Studio  Ske  Came — 

Caprice,  in  love  with  an  American  artist,  but  giving  up 
everything  to  help  her  father,  went  on  her  great  adventure 
from  the  Latin  Quarter  of  Paris  to  a  wealthy  home  in  New 

York.  There  she  hoped  to  receive 
from  her  dying  grandfather  funds 
that  would  carry  her  father  artist 
through  his  difficulties. 

But  there  were  relatives  who 
had  other  plans  in  view,  and  soon 
Caprice  found  herself  facing  alone 
a  little  world  of  designing  people. 
One  climax  follows  another  as 
Caprice  overcomes  odds  that  seem 
insuperable.  Her  dramatic  story  is 
beautifully  told  in 


GAY 
CAPRICE 

By  Beulah  Pointer 


The  publisher  of  this  book,  which  has  never  before  appeared 
between  book  covers,  is  CHELSEA  HOUSE,  whose  popular 
copyrights  are  one  and  all  the  best  of  good  reading.  Love, 
romance,  and  adventure,  make  every  page  glamorous.  If  your 
dealer  does  not  carry  a  full  list  of  CHELSEA  HOUSE  love 
stories,  write  to 

CHELSEA    HOUSE,   79  Seventh  Avenue,  New  York  City 


Price,    75    Cents 


^ 


<^? 


«^> 


Price,   75   Cents 


First  Choice 


±c- 


When  the  great  day  comes  at  last, 
and  the  crowds  are  roaring,  and 
the  flags  are  flying,  and  the  air  is 
positively  electric  with  suspense 
.  .  .  what  a  thrill  it  is  to  be  on 
the  fifty-yard  line,  in  first-choice 
seats,  with  a  first-choice  cigarette ! 
For  there's  such  a  wealth  of  enjoy- 
ment and  mellow  fragrance  in 
Camels  that  you  will  find  them 
always  in  places  of  preference 
...  in  the  pockets  of  people  who 
know  and   demand  good  things. 


1930,  R.  J.  Reynolds  Tobacco  Co.,  Win.lon-Salem,  N.  C. 


Ill  1 1 

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